^'f^^--0 


■■■MJ 


LIBRARY 

THE  UNIVERSITY 
OF  CALIFORNIA 

SANTA  BARBARA 


PRESENTED  BY 

Frances  Hoi  den 


X(MO( 


niv.r 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/franklinsquaresoOOmccaiala 


ranklin  Square 


'ki^^ 


I^^^>vJ 


ong^^Bollection : 


9.-/^5^' 


tc 


HD 


msrA$  ^mt5$  mh  !f  ^imt$  Jar  ^t]^I$  mh  !f  tmt^, 


SELECTED   BY  J.  P.  McCASKEY. 


-  I  was  once  at  a  litde  musical  party  in  New  York,  where  several  accomplished  amateur  singers  were 
present,  and  with  them  the  eminent  professional,  Adelaide  Phillips.  The  amateurs  were  first  called* 
Each  chose  some  difficult  operatic  passage,  and  sang  her  best.  When  it  came  to  the  great  singer's 
turn,  instead  of  exhibiting  her  ability  to  eclipse  these  rivals  on  her  own  ground,  she  simply  seated  herself 
at  the  piano  and  sang  '  Kathleen  Mavoumeen,'  with  such  thrilling  sweetness,  that  the  young  Irish  girl 
who  was  setting  the  supper-table  in  the  next  room  foi^ot  her  plates  and  teaspoons,  threw  herself  into 
a  chair,  put  her  aproa  over  her  face,  and  sobbed  as  if  her  heart  would  break. — TAos.  W.  Higginson. 


Wm.  H.  Boiier  &  CO.,  ^ 
il02CliostnutSL,Phlte. 


NEW    YORK 
HARPER   &   BROTHERS,  FRANKLIN   SQUARK 


IT  "  lacks  orderly  arrangement "  has  been  an  occasional  criticism  upon  the  First  Number.  It  pretends 
to  none ;  but  is  simply  a  collection  of  good  things  brought  together,  with  readmg  matter,  pertinent 
and  suggestive,  sandwiched  between — the  singer  or  reader  taking  what  he  finds  "  for  better,  for  worse." 
While  in  No.  1  everything  is  complete  on  its  own  page,  in  No.  2  no  leaf  is  turned  to  complete  any 
Song  or  Hymn.  There  is  no  space  lost  or  wasted  anywhere,  unless,  indeed,  matter  of  no  value  has 
at  times  found  place  here,  which  we  trust  will  not  be  the  verdict  of  many  who  may  use  this  Second 
Ntrrnber.  That  the  book  may  be  as  useful  and  as  satisfactory  as  possible,  the  selections  are  arranged^ 
whh  few  exceptions,  in  four  parts,  so  that  they  can  be  sung  or  played  in  solo,  duet,  trio,  or  quartette, 
according  to  circumstances,  or  as  may  be  preferred  for  voices  or  instruments.  Some,  of  course,  are 
best  as  solos,  others  in  two,  three,  or  four  parts,  or  in  the  full-voiced  harmony  of  the  great  chorus. 

Special  acknowledgments  are  made  to  Publishers  and  others  for  copyright  privileges  and  numerous 
favors.  To  Prof.  Carl  Matz,  who  verifies  the  saying,  "  vVhen  you  find  a  Prussian  you  find  a  man," 
the  Compiler  cannot  express  too  heartily  his  sense  of  personal  obligation.  Endowed  with  the  divine 
gift  of  harmony  in  an  extraordinary  degree,  possessed  of  exquisite  taste,  and  a  power  of  memory  in 
music  that  is  phenomenal,  to  this  he  has  superadded  the  rigid  training  of  the  best  schools  of  music  in 
the  world.  He  is  a  graduate  of  the  first  rank  from  the  famous  Seminary  of  Koepenick,  near  Berlin, 
where  for  the  third  year  of  the  course,  (1866),  under  Rudolph  Lange,  he  was  leader  of  the  grand  orchestra 
and  of  the  chorus  of  a  hundred  voices,  having  been  chosen  conductor  by  vote  of  the  students  of  music 
in  recognition  of  his  eminent  ability.  He  was  then,  for  a  year,  connected  with  the  Stern  Institute,  the 
Royal  Conservatory  of  Berlin,  after  which  he  had  charge  of  one  of  the  finest  organs  in  Germany  for- 
upwards  of  two  years  before  coming  to  .America.  Since  that  time  he  has  led  a  very  busy  life  as  con- 
ductor and  organist,  choir  instructor,  and  teacher  of  music  in  public  and  private  schools.  Thus  much  in 
evidence  that  the  harmony  here  found  is  approved  by,  or  is  from  the  hand  of,  a  master. 

All  persons  who  enjoy  music  have  their  favorite  Songs  and  Hymns,  and  some  into  whose  hands  this 
Collection  may  fall,  would  be  pleased  to  find  such  favorites  here.  If  they  will  address  the  Compiler, 
in  care  of  the  Publishers,  suggesting  the  names  of  such  old  pieces  as  they  remember  pleasantly,  send- 
ing copies  of  the  same  or  stating  where  they  may  be  found,  they  will  be  carefully  considered^  and  the 
merits  of  the  book  as  a  Popular  Collection  will  be  much  enhanced. 


Copyright,  18S4   by  J.  1>   McCaskbt, 


ImAwk  uf  ^0ng  i0feitmt. 


A  Glory  Gilds  the  Sacred  Page,        IFm.  Ccnvper.  109 

All  Hail  the  Power  of  Jesus'  Name,  E.  Perronet.  1 1 

A  Mighty  Fortress  is  our  God,  Martin  Luther.  142 

Angels  Ever  Bright  and  Fair,        G.  F.  Handel.  33 

A  Soldier's  Life,     -         -         •       M.  \V.  Balfe.  133 

Auf  Wiedersehn,         -         -        F.  Mendelssohn.  175 

Away  to  School,     ...         German  Air.  161 

Austrian  Hymn  :  Air,-          -         Joseph  Haydn.  1 16 

Battle  Hymn  of  the  Republic,  yiclia  IVard  Ho^ve.  117 

Bay  of  Dublin,         -         -         -  Lady  Duffcrin.  176 

Beautiful  Spring  Time,       -          Gtiiscppe  Verdi.  "JZ 

Beautiful  Venice          -         -           J.  F.  Knight.  124 

Bell  is  Ringing,  (Round),       -      -       F.  Silcher.  137 

Better  Wish,  The,         -         -        Henry  Russell.  9 

Beulah  Land,          -         -         •       y.  R.  Sweney.  1 1 

Birds  are  in  the  Woodland,      •     Kindergarten.  37 

Blue  Alsatian  Mountains,      -       Stephen  Adams.  167 

Blue-Eyed  Mary,         -         -       -       Anonymous.  144 

Bounding  Billows,         -         •          Mary  Derby.  137 

Brave  Old  Oak,  The,         -         -      E.  J.  Lod'er.  103 

Breathings  of  Spring,       -        CM.  Von  Weber.  23 

Briglitly,          -          -          -          Michael  Haydn.  32 

Bright  Rosy  Morning,      •         •          School  Song.  78 

Broken  Ring,  The,          -          •    J.  Eichendorff.  50 

Brother  So  Fine,         -         •      -        J-  Dreshler.  77 

But  the  Lord  is  Mindful  of  His  Ovm,Mendelssohn.  loi 

By  th«  Sad  Sea  Waves,      -         -      y.  Benedict.  126 

Carrier  Dove,  The,         •         •          D.  yohnson.  9$ 

Chapel,  The,         ...   Ludwig  Uhland.  57 

Cheer,  Boys,  Cheer,          -          Charles  Mackay.  88 

Child  of  Earth  with  Golden  Hair,     C.  E.  Horn.  140 

Clear  the  Way,         -         -         -         School  Song.  156 

Come  and  See  Me,  Mary  Ann,      Childhood  Song.  1 10 

Columbia,  God  Preserve  Thee  Free,   y.  Haydn.  104 

Come  Again,          -         .         .       .     Anonymous.  1 52 

Come,  Cheerful  Companions,      .       French  Air.  80 

Come,  O  Come  With  Me,         -         Italian  Air.  27 

Come,  Sing  Me  that  Sweet  Air  Again,  T.Moore.  47 

Come,  Thou  Almighty  King,       Charles  Wesley.  115 

Come  with  Thy  Lute  to  the  Fountain,          -  150 

Coronation,         ...           Oliver  Holden.  1 1 

Crown  Ilim  with  Many  Crowns,       M.  Bridges.  57 

Cuckoo,  Tlie,          ...         Anonymous.  44 

Danube  River,  The,          -           Hamilton  Aide.  153 

Day  of  Wonder,  Day  of  Gladness,    B.  H.  Hall.  131 

Days  of  Absence         -         -         y-  y-  Rousseau.  138 

Dress  a  Bad  Boy,          -          -          -         Round.  157 

Do  They  Think  of  Me  at  Home  ?  C.  W.  Glover.  6 

Douglas,  Tender  and  True,      -     D.  M.  Craik.  134 

Echo,  The,         ....     Anonymous.  43 

Eileen  Achora,         -         -         -     y.  P.  Knight.  123 

Evangeline,         ...           Will  S.  Hays.  164 

Ever  of  Thee,           ...         Foley  Hal.'.  55 

Fairy  Ring,          -          -         -         Kindergarten.  77 

Flee  as  a  Bird,         .         -      Mary  S.  B.  Dana.  64 

Float  Away,         -         ...      German  Air.  85 

Flow  Gently,  Sweet  Afton,      -      Robert  Burns.  59 

Fly  Away,  Pretty  Moth,        -       Thos.  H.  Bayly.  21 

From  Days  of  Old,         -         Felix  Mendelssohn.  175 

From  Greenland's  Icy  Mountains,     -    R.  Heber.  1 15 


Gently  Lead  Us,  (Rathbun)      Tthamar  Conkey.  61 

Girl  I  Left  Behind  Me,  The,       .      Anonymous.  139 

Glory  Gilds  the  Sacred  Page,          Wm.  Cowper.  109 

Golden  Shore,  The,          .          Alfred  S.  Gatty.  122 

Golden  Slumbers  Kiss  Your  Eyes,     •     Lullaby.  33 

Good- Bye,         -         •         •     y.  C.  Engelbreckt.  63 

Good- Night,         ....         Volkslied.  9 

Guadalquiver,          -          -          Charles  yeffreys.  87 

God. of  Our  Fathers,  (Downs)      Lowell  Mason.  75 

Hail  to  the  BriglUness,       .       Thomas  Hastings.  149 

Hail  to  the  Cliief,           ^          .          Walter  Scott.  105 

Happy  Days  Gone  By,         -       -       D.  Godfrey.  1 36 

Hark!  the  Herald  Angels  Sing,    Charles  Wesley.  II4 

Hasten,  Sinner,  to  be  Wise,      -       Thomas  Scott.  109 

Hearts  and  Homes,          -         -    yohn  Blockley.  30 

He  Giveth  His  Beloved  Sleep,     .     Franz  Abt.  56 

Herdsman's  Mountain  Home,        -        Volkslied.  I4 

Here  We  Stand,  Hand  in  Hand,     -     Movement.  159 

Hoe  Out  Your  Row         -         -         Anonymous.  4I 

Holy  Bible,  Book  Divine,       .        y.  F.  Barton.  143 

Home's  not  merely  Four  Square  Walls,  C.  Swain.  1 13 

How  Softly  Are  Glancing,      .       W.  A.  Mozart.  42 

Hunter's  Farewell,  The,       -      F.  Mendelssohn.  171 

Hunter's  Song,  The,           -           -            Schaffer.  86 

I  Dream  of  All  Things  Free,      Felicia  Hemans.  93 

I  Dreamt  I  Dwelt  in  Marble  Halls,  M.  W.  Balfe.  79 

If  Thou  Wert  by  My  Side,         Reginald  Heber.  102 

I'll  Do  My  Duty,         ...     Anonymous.  75 

I  Love  the  Merry  Sunshine,         Stephen  Glover.  129 

I  Love  to  Tell  the  Story,      .      Wm.  G.  Fischer.  96 

I  Think  when  I  read  that  Sweet  Story,    y.  Luke.  19 

In  the  Starlight,          -         -         Stephen  Glover.  35 

I've  Been  Roaming,         -          Charles  E.  Horn.  58 

Italian  Hymn,         ....     Giardini.  1 15 

Jeannette  and  Jeannot,      -        Chas.  W.  Glover.  154 

Jesus,  Lover  of  My  Soul,       -       Charles  Wesley,  60 

Joy  Bells  Ring  To«day,        .         .      Scotch  Air.  19 

Johnny  Sands,         -         .       .       yohn  Sinclair.  168 

Joy  Wait  on  Thy  Morrow,  "  Vive  la  Compagnie."  148 

Juanita,         ....       Caroline  /Norton.  166 

Kathleen  Mavoumeen,      .      F.  W.  JV.  Crouch.  120 

Katy  Darling,         ...         Anonymous.  119 

Kelvin  Grove,         ...        Thomas  Lyle.  170 

Killarney,         .         -         •         •     M.  W.  Balfe.  39 

Kindred  Hearts,         .         .         Felicia  Hemans.  66 

Let  Others  Dream,         .         -      y.  C.  yohnson.  1 7 

Life  Laid  Down,  The,       .        yames  Langran.  99 

Light  in  the  Window,  The,       Virginia  Gabriel.  67 

Little  Bennie  was  Our  Darling,    G.  R.  Poulton.  118 

Little  Bird  on  the  Green  Tree,          -        Claribel.  112 

Light  of  Other  Days,         -         -     AL  W.  Balfe.  91 

Long  Weary  Day,  The,     -      Suabian  Volkdied.  68 

Lord,  with  Glowing  Heart,     •     Francis  S.  Key.  116 

Love  and  Mirth,          '         '         '      y-  Strauss.  76 

Love  Not,           -         -          -          yohn  Blockley.  145 

Love's  Young  Dream,         -          Thomas  Moore.  172 

Manoah,         ....            G.  Rossini.  I09 

Make  the  Best  of  It,         -         -     C.  y.  Dunphy.  149 

Make  Your  Mark,           .           -          School  Song.  89 

Marching  Song,           ...          German.  132 


FRANKLIN-SQUARE  SONG  COLLECTION 


Mary  of  Argyle,           -         -         Sidney  Nelson.  38 

May  Queen,  The,         -      -       Alfred  Tennyson.  62 

Merrily  Every  Bosom  Boundeth,     German  Air.  141 

Mellow  Horn,  The,         -          -          Wm.  Jones.  7 

Miller  of  the  Dee,  The,       -       Charles  Mackay.  22 

Music  Everywhere,         -         -         S.  W.  Foster.  161 

My  Ain  Countrie,         -         -      Miss  M.  A.  Lee.  29 

My  Mother's  Bible,         -      -      Geo.  P.  Morris.  5 

My  Normandy,         ...  Frederic  Berat.  53 

Nancy  Lee,  ...  Stephen  Adams.  49 
Ninety  and  Nine,  -  -  Ira  D.  Sankey.  146 
None  Can  Tell,  -  -  -  G.  B.  Allen.  54 
Now  Thank  We  All  Our  God,  Martin  Rinkart.  121 
Never  Say  Fail,  ...  School  Song.  160 
Nun  Daiiett  Alle  Gott,  Martin  Rinkart.  121 

Oh,  Could  Our  Thoughts,  -  Anne  Steele.  73 
Oh,  Take  Me  Back  to  Switzerland,  C.  Norton.  90 
Old  Grimes,  -  -  -  A.  G.  Greene.  40 
Old  Rosin  the  Bow,  -  -  Anonymous.  48 
Old  Friends  and  Old  Times,  y.  R.  Thomas.  28 
Once  Again,  O  Blessed  Time,  Arthur  Sullivan.  26 
O  Sacred  Head,  -  Bernard  of  Clairvaux.  69 
Over  the  Mountain  Wave,  -  E.  L,  White.  165 
Over  There,         -         -         -  T.  C  C Kane,   ioo 

O  Ye  Tears,  ....  Franz  Abt.  128 
Pearl  that  Worldings  Covet,  The,  E.  J.  Loder.  107 
Praise  to  God,  (Nuremburg)  -  Sebastian  Bach.  65 
Pull  Away,  Brave  Boys,  -  -  G.  Rossini.  Ill 
Pleyel's  Hymn,  -  Ignatius  Pleyel.   109 

Quiet,  Lord,  My  Froward  Heart,  John  Newton.  61 
Red,  Red  Rose,  The,  -  Robert  Burns.  174 

Rejoice !  Rejoice,  -         -       -    Anonymous.     1 2 

Rock  of  Ages,  -  -  •  -  A.  M.  Toplady.  143 
Rocked  in  the  Cradle  of  the  Deep,  E.  Willard.  92 
Roll  on.  Silver  Moon,         -  J-  W.  Turner.     34 

Rise,  Crowned  with  Light,  Alexander  Pope.     65 

Rosy  Crown,  The,  -  C.  M  Von  Weber.     3 1 

Rosin  the  Bow,  ...  Anonymous.  48 
Row,  Row,  Cheerly  Row,  -  D.  M.  Craik.  127 
Russian  Driver's  Song,         -  •     Folk-Song.      162 

Russian  Hymn,  -  -  -  Alexis  Lvoff  65. 
Scarlet  Sarafan,  The  -         -        Warlamoff.   130 

Scotland's  Burning,  ...  Round.  137 
Sea  Bird's  Song,  •  -  Guiseppe  Verdi.  173 
See  Where  the  Rising  Sun,  -  German  Air.  157 
Shall  We  Meet  Beyond  the  River?  E.  S.  Rice.  71 
Shells  of  Ocean,  -  .         J.  W.  Cherry.     13 

Shepherd  Boy :  Air,  -  G.  D.  Wilson.     98 

Silence, Roethen.     24 

Silver  Chimes,  -  •  Mrs.  Cms.  Barnard.  52 
Smiling  May  Comes  in  Play,  -  Anonymous.  1 59 
Slumber  Song,  The,  -         .  F.  Kiicken.     70 

Song  of  the  Brook,  -  Alfred  Tennyson.     98 

Song  of  Seven,  ...  Jean  Ingelo^v.  8 1 
Sound  our  Voices  Long  and  Sweet,  Anonymous,  i  ^ 
Speak  Gently,  -  -  W.  V.  Wallace.       8 

Spring,  Gentle  Spring,         -  -J.  Riviere.     45 

Stars  Trembling  o'er  Us,  -  D.  M.  Craik.  37 
Steal  Away,  _         .  .        Slave  Hymn.   108 


Styrian  Land,  The, 
Summer  Days  are  Coming, 
Sweet  and  Low, 
Sweet  Song  Bird, 
Switzer's  Song  of  Home, 


L.  C.  Scydler.  i;^ 

Charles  Jeffreys.  20 

J.  Barnby.  1 6 

J.  L.  Malloy.  82 

Ignatz  Moscheles.  94 


Take  Me  Back  to  Switzerland,  Caroline  Norton.  90 

That  Day  the  World  Shall  See,      W.E.IIickson.  158 

That  Sweet  Story  of  Old,       -        Jemima  Luke.  19 

The  Baden  Polka  (Air)         .         -     /.  Strauss.  76 

The  Blue  Alsatian  Mountains,    Stephen  Adams.  167 

The  Brave  Old  Oak.         -           Edw.  J.  Loder.  103 

The  Broken  Ring,         -         -J-  Eichendorff.  50 

The  Carrier  Dove,         -         -         ■  D.  Johnson.  95 

The  Chapel,       -         -         -       Ludwig  Uhland.  57 

The  Cuckoo,          .          .          _         Anonymous.  44 

The  Danube  River,    -         •         Hamilton  Aide.  153 

The  Echo,         _         _         -         _      Ano7iymous.  43 

The  Girl  I  Left  Behind  Me,  "Brighton  Camp."  139 

The  Golden  Shore,          -          -       A.  S.  Gatty.  122 

The  Hunter's  Song,         _         .         .      Schaffer.  86 

The  Light  in  the  Window,        Virginia  Gabriel.  67 

The  Life  Laid  Down,        -         James  Langran.  99 

The  Long  Weary  Day,      -      Suabian  Volkslied.  68 

The  May  Queen,       -         -         -A.  Tennyson.  62 

The  Pearl  that  Worldlings  Covet,    E.  J.  Loder.  107 

The  Mellow  Horn,          -          -          Wm.  Jones.  7 

The  Miller  of  the  Dee,       -        Charles  Mackay.  22 

The  Red,  Red  Rose,    -         -         Robert  Burns.  174 

The  Rosy  Crown,          -          C.  M.  Von  Weber.  31 

The  Slumber  Song,           -           -         F.  Kiicken.  70 

The  Styrian  Land,         -         -         L.  C.  Scydler.  S'i 

Then  You'll  Remember  Me,          M.  W.  Balfe.  155 

Those  Evening  Bells,         -        -         V.  Bellini.  84 

Three  Children  Sliding,         -         -      Old  Ditty.  31 

Thy  Name  was  Once  the  Magic  Spell,   C.  N^orton.  106 

Time  Doth  Pass  Away,           -            Anonymous.  41 

'Tis  Lone  on  the  Waters,       -       John  Blockley.  135 

To  the  Praise  of  Truth,          -          -          Round.  157 

To  Thy  Pastures  Fair  and  Large,      J.  Merrick.  69 

Troika,  Russian  Driver's  Song,            Folk-Song.  162 

True  Love  Can  Ne'er  Forget,       Samuel  Lover.  46 

Twickenham  Ferry,         -       Theodore  Marzials.  25 

Vesper  Bell,          ■          -          _         Anonymous.  109 

Vesper  Hymn,          -           -           Thomas  Moore.  17 

Viva  L' America,          -            -          H.  Millard.  151 

Wake,  For  the  Night  is  Flying,    Philip  Nicolai.  147 

Warren's  Address,             -             John  Pierpont.  133 

We'd  Better  Bide  a  Wee,             -             Claribel.  169 

We  Have  Lived  and  Loved  Together,  C.  Jeffreys.  36 

What  is  Home  without  a  Mother,  A.  Ha7vthorne,  18 

When  Stars  are  in  the  Quiet  Skies,  E.L.Bulwer.  163 

When  the  Green  Leaves,           -           Anonymous.  145 

While  the  Days  Are  Going  By,        A.  Nettleton.  74 

While  the  Morning  Bells  are  Ringing,  Sicilian.  71 

When  You  and  I  were  Young,       Geo.  B.  Allen.  1 25 

Where  are  the  Friends  of  My  Youth  ?  6".  Barker.  97 

Whistle  and  Hoe,           .           -          Anonymous.  81 

Why  do  Summer  Roses  Fade  ?    George  Barker.  lO 

With  Glowjng  Heart  I'd  Praise  Thee,  F.  S.  Key.  116 

Won't  You  Tell  Me  Why,  Robin  ?         Claribel.  5 1 


CTION. 


MY  MOTHER'S  BIBLE. 


Henry  Russell. 
George  P.  Morris. 


S 


^^ 


^ f^-\-» 


1.  This  book        is     all    that's 

2.  Ahl  well       do     I       re   - 

3.  My  fa     -    ther  read  this 

4.  Thou  true   -   est  friend  man 


left     me  now!  Tears     will       un-bid- 

mem-ber  those  Whose  names  these  rec- 

ho  -  ly  book  To         broth  -  ers,  sis  - 

ev  -  er  knew,  Thy       con  -  stan  -  cy 


den  start;  With 

ords  bear :  Who 

ters  dear;  How 

I've  tried;  Where 


g:^ 


5=^Mi 


i 


3b^ 


\/    ]/    \/- 


^^^^^^ 


i^ 


m 


m 


fait   -  'ring     lip       and     throb  -  bing  brow, 

round  the    hearth-stone  used        to  close 

calm  was    my      poor    moth  -  er's  look, 

all  were  false,      I       found   thee  true, 


I      press       it         to 
Af  -    ter       the      ev'    - 
Who  leaned  God's  word 
My    coun  -  sel  -  lor 


^^^ 


:€=£: 


my  heart.  For 

ning  prayer.  And 

to  hear.  Her 

and  guide.  The 


^ 


^ 


:ip3^ 


^£EEi*EE!^ 


ma  - 
speak 
an  - 
mines 


ny  gen  -  er    -     a     -  tions  past,  Here       is 

of  what  these     pa    -  ges     said,  In         tones 

gel  face—  I        see  it        yet!  What  throng 

of  earth  no      treas  -  ure      give  That     could 


jfjjg: 


^ 


1^ 


^ 


my 
ing 
this 


fam  ■ 
heart 
mem  - 
vol  - 


'ly 

would 
'ries 
ume 


r" 


ppi 


tree ;  My 

thrill!  Tho' 

come!  A  - 

buy ;  In 


4*=P: 


:1?=^ 


n  tf       K 

s 

v  >&    n 

W    '      w 

"■    K 

"~^ 

w 

S          1 

S 

1 

/'■J               r*      --i- 

I                    !  "^ 

k         ^1 

». 

s    J         ^ 

ff\       s    • 

m       ^ 

^    ' 

m           mi 

R 

p 

^ 

9       d 

^  • 

\i~)        •■    •       m       !-■         ,-■ 

»        €!        ^ 

•^        a 

W 

mo     - 
they 
gain 
teach  - 

-r-  • 

ther's  hands 
are     with 
that      lit    - 
ing      me 

this 
the 
tie 
the 

Bi   - 
si    - 

group 

way 

ble    clasp 
lent     dea 
is       me 
to       liv( 

)ed; 
d, 

t 

■9-       »  • 
She,      dy     . 
Here     are 
With  -  in 
It         taught 

w 

ing,  gave 
they     liv    - 
the     halls 
me     how 

1 
it        me. 
ing      still, 
of        home, 
to         die. 
-F-        «  . 

V\''it    W    •       F 

» 

Bi 

\                        m   •        m 

?J. ft    r          5 

^ 

1 

m         m          \m 

C>'"^     u 

u 

^ 

C7 

)• 

m        m  • 

1^ 

• 

^         •   .       P 

W-             w 

■  r       1                    L^ 

J            ^.       \  .         \  . 

,-. 

> 

k         k 

*» 

w 

r 

1^ 

ir 

1* 

rRAJVA'LIN-SQUARE   SOA'G    COLLECT/OAT. 


Care  of  the  Voice. — Mr.  Eichberg,  Supervisor 
of  Music  in  the  public  schools  of  Boston,  gives  the 
following  caution,  which  is  well  worth  heeding. 
He  says:  The  age  cf  most  of  the  pupils  in  the 
high  schools  renders  extreme  caution  in  the  treat- 
ment of  their  voices  a  duty  and  a  sacred  obligation. 
The  common  belief  that  boys'  voices  alone  require 
especial  care  during  the  period  of  transition  has  led 
to  much  loss  of  voice  and  of  health.  Just  as  im- 
portant, if  less  striking,  changes  occur  in  the  nature 


and  'timbre'  of  the  female  voice.  I  am  convinced 
that  the  voice  of  a  girl  from  twelve  to  seventeen 
years  of  age  requires  all  the  more  careful  manage- 
ment from  the  very  fact  that,  not  suffering,  like  a 
boy,  from  an  almost  absolute  impossibility  to  sing, 
she  is  likely  to  over-exert  herself,  to  the  lasting  in- 
jury of  both  health  and  voice.  When  teachers  are 
better  acquainted  with  these  physiological  facts,  they 
will  understand  the  necessity  of  not  sacrificing  such 
young — such  temporarily  "  diseased  "  voices — to  the 


DO  THEY  THINK  OF  ME  AT  HOME? 

:^ — s — K-\ % — S- 


T.  E.  Carpenter. 
Chas.  W,  Glover. 


-ZZt  -^-  'W     ^ 

Do    they  think      of      me      at   home.  Do  they    ev  -    er  think  of    me?  I  who 

Do    they  think      of      me      at      eve?  Of  the  songs     I  used  to    sing?  Is  the 

Do    they  think      of    how     I     loved  In  my    hap  -  py,  ear  -  ly    days  ?  Do  they 


shared 

harp 

think 


their   ev  - 'ry  grief,         I    who   mingled   in    their  glee?     Have  their  hearts  grown  cold  and 

I   struck  untouch'd.  Does  a     stranger  wake    the  string  ?     Will    no  kind    for  -  giv  -  ing 

of    him  who  came.    But  could  nev  -  er    vin   their  praise?      I      am  hap-  py      by     his 


^^^^p 


J^ 


f 


r 


S=y^- 


\^-^ 


4*L— V 


i 


i^=:H 


:{s=S 


W: 


^^i^ii: 


^ 


^^ 


aa ^   *—^ 


««=Si: 


-■1 m--^ ■! mtr 


strange    To    the  one     now  doom'd  to   roam,  I  would  give    the  world  to  know, 

word   Come    a-cross      the     rag  -  ing   foam?     Shall     I   nev  -    er   cease  to   sigh,- 
side.     And  from  mine  he'll  nev  -  er    roam,        But    my  heart  will    sad  -  ly    ask,— 


—"Do  they 

-  "  Do  they 

-  "  Do  they 


think  of  me 
think  of  me 
think    of  me 


at  home  ?"  I  would  give  the  world  to  know,  "  Do  they  think  of  me 
at  home?"  Shall  I  nev  -  er  cease  to  sigh,  "  Do  they  think  of  me 
at  home  ?"  But  my  heart  will  sad  -  ly   ask,     "  Do  they  think  of  me 


at  home  ?" 
at  home?" 


desire  of  exhibiting  and  showing  off  their  classes. 
Another  frightful  cause  of  injury  proceeds  from  the 
desire  of  many  female  pupils  always  to  sing  the 
highest  part — the  first  soprano.  It  is  with  them 
"Aui  Caesar,  aut  nullus."  Periodical  examination 
of  the  pupils'  voices,  by  the  teacher,  has  seemed  to 
me  the  only  safe  course  in  order  to  remedy  this  evil. 
In  Jenny  Lind's  younger  days,  it  is  related  that 
she  applied  for  instructions  to  Garcia,  the  great 
teacher  of  vocal  music  in  Paris.     He  heard   her 


sing,  and  then  told  her  her  voice  was  gone,  that  she 
must  not  sing  a  note  for  a  year,  and  return  to  him 
at  the  end  of  that  time,  and  in  the  meantime  im- 
jirove  her  health.  She  faithfully  complied  with 
these  directions,  and  came  back  to  Garcia  at  the 
appointed  time.  Rest  at  a  critical  period,  had  re- 
stored her  voice,  to  her  own  delight  and  to  the 
gratification  of  her  master.  From  that  moment  a 
grand  career  was  open  before  her,  which  has  made 
her  name  a  "household  word"  in  two  continents. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


THE   MELLOW   HORN. 


Lively 


a 


Wm.  Jonks. 


^^=a^^^^ 


1 .  At  dawn  Auro  -  ra    gai  -  ly  breaks,  In  all  her  proud  attire,      Ma  -  jes  -  tic  o'er  the  glassy  lake,  Re  - 

2.  At  eve  when  gloomy  shades  obscure  The  tranquil  shepherd's  cot,When  tinkling  bells  are  heard  no  more, 

r*l  _  ..    ,  _  And 


fleet -ing  li- quid  fire;      All    na  -  tnre  smiles  to  ush  -  er  in   The  blushing  queen  of  morn.      And 
dai  -  ly     toil  for  -  get,     'Tis  then  the  sweet  enchanting  note  On   zephyi-s   gent-ly  borne.      With 


^ 


T—f- 


IfW 


SS 


? 


r 


r 


^  g  s:^ 


^^ 


H^ 


^^ 


f^f— f 


la 


iE3 


I  -   i      i/ 

hunts-men  with  the  day      be-gin     To  wind  the  mel  -  low  horn.     The  mel  -  low      horn, 
witch-ing  ca  -  dence  seems  to  float    A-  round  the  mel  -  low  horn.     The  mel  -  low      horn. 


The 
The 


mel  -  low,  mel  -  low    horn ;       The  mel  -  low      horn, 
mel  -  low,  mel  -  low    horn ;       The  mel  -  low      horn, 


The    mel  -  low,  mel  ■  low  horn ; 
The   mel  -  low,  mel  -  low  horn ; 


And 
'Tis 


huntsmen  with  the  day  begin    To  wind  the  mellow  horn, 
then    the  sweet  enchanting  note  On  zephyrs  gently  borne  ; 


And  huntsmen  with  the  day  begin  To 
With  witching  cadence  seems  to  float  A- 


wind  the  mellow  horn, 
round  the  mellow  horn. 


The  mellow,  mellow     horn,       The  mel  low,  mellow    horn. 
The  mellow,  mellow     horn.       The  mel-low,  mellow    horn. 


m 


i 


-^  "^-m-  "^  -^^-^ 


£5 


?=* 


^- 


^ 


1m    W  W 


*  An  Echo  can  tie  made  by  Soprano  and  Alto  humming  these  two  bars  to  this  note,  with  lips  closed  and  teeth  apart. 


FRANKLIN-SQUARE  SONG    COLLECTION. 


Musical  Heredity. — Heredity  shows  itself  more 
markedly,  it  would  seem,  in  the  arts  than  in  the 
sciences.  Taking  music  we  find  some  remarkable 
instances.  The  Bach  family,  which  took  its  rise  about 
1550  and  became  extinct  in  1800,  presents  an  un- 
broken series  of  musicians  for  nearly  two  centuries. 
The  head  of  the  family  was  a  baker  of  Presburg,  his 
two  sons  were  the  first  who  were  musicians  by  profes- 
sion. Their  descendants  "  overran  Thuringia,  Sax- 
ony, and  Franconia,"  says  Papillon.  "  They  were 
all  organists,  church  singers,  or  what  is  called  in 


Germany,  'city  musicians.'  When  they  became  too 
numerous  to  live  all  together,  and  the  members  of 
this  family  were  scattered  abroad,  they  resolved  to 
meet  once  a  year,  on  a  stated  day,  with  a  view  to 
maintaining  a  sort  of  patriarchal  bond  of  union.  This 
custom  was  kept  up  until  nearly  the  middle  of  the 
eighteenth  century,  and  oftentimes  more  than  a  100 
persons  bearing  the  name  of  Bach — men,  women, 
and  children — were  to  be  seen  assembled.  In  the 
family  are  reckoned  twenty-nine  eminent  musicians, 
and  twenty-eight  of  a  lower  grade."  Rossini's  family 


SPEAK  GENTLY. 


D.  Bates. 
W.  V.  Wallace. 


fc^^^^S 


*^ 


-5^-=?- 


t:^t 


**    >    > 

1.  Speak  gen-  tly — it     is     bet-ter       far 

2.  Speak  gen  -  tly     to  the  young—  for  they 

3.  Speak  gen  -  tly     to  the     err  -  ing,  know 


WSl 


i 


c=s=* 


To  rule  by  love  than  fear; 
Will  have  e  -  nough  to  bear; 
They  must  have  toiled  in      vain; 


Speak 

Pass 

Per- 


g 


lEzte: 


-^^-^ 


^    ^    ^ 


i 


^ 


^ 


-.^=w- 


? 


3 


-^^-^ 


^fP^ 


-«-^ 


W3lk 


-^-w- 


^ 


gen  -  tly — let  no  harsh  word  mar 
through  this  life  as  best  they  may, 
chance  unkindness  made  them  so ; 


The  good  we  may  do  here. 
'Tis  full  of  anx  -  ious  care. 
Oh,    win  them  back      a  -  gain. 


Speak  gen -tly  to  the 
Speak  gen  -  tly  to  the 
Speak  gen  -tly,  'tis     a 


m 


tX  g  g-g 


:^ 


-^-^ 


'f^  ^  ^  ^  \^ 


^sa 


lit  -  tie 
ag  -  ed 
lit  -  tie 


_  ^  V  ^  f- 

child!    Its  love  be   sure  to  gain;  Teach   it       in    ac-cents soft  and  mild,  It 

one.  Grieve  not  the  care  -   worn  heart,  Whose  sands  of  life  are  near-  ly     run ;  Let 

thing  Dropped  in  the  heart's  deep  well;    The   good,  the  joy,  that    it  may  bring,  E- 


^^ 


L1.TM 


m 


may  not  long  re- main.  Teach  it  in  accents  soft  and  mild.  It  may  not  long  re-main, 
such  in  peace  de-part,  Whose  sands  of  life  are  nearly  run,  Let  such  in  peace  de-part, 
ter  -  ni-ty     shall  tell,       The    good,the  joy,  that  it  may  bring,  E     -     ter  -  ni  -  ty  shall  tell. 


&=5=g 


## 


* 


P 


^ 


^^gfpg=£ 


often  played  music  at  fairs;  Beethoven's  father  and 
grandfather  were  musicians;  Mozart's  father  was 
Capellmeister  to  the  Bishop  of  Saltzburg. — Cornhill. 
It  is  night  now,  and  here  is  home.  Gathered 
under  the  quiet  roof,  elders  and  children  lie,  alike 
at  rest.  In  the  midst  of  a  great  calm  the  stars  look 
out  from  the  heavens.  The  silence  is  peopled  with 
the  past — sorrowful  remorse  for  sins  and  short-com- 
ings, memories  of  passionate  joys  and  griefs  rise 
out  of  their  graves,  both  now  alike  calm  and  sad. 


Eyes,  as  I  shut  mine,  look  at  me  that  have  long  since 
ceased  to  shine.  The  town  and  the  fair  landscape 
sleep  under  the  starlight,  wreathed  under  the  Autumn 
mist.  Twinkling  among  the  houses,  a  light  keeps 
watch  here  and  there,  in  what  may  be  a  sick  cham- 
ber or  two.  The  clock  tolls  sweetly  in  the  silent  air. 
Here  is  night  and  rest.  An  awful  sense  of  thanks 
makes  the  heart  swell  and  the  head  bow,  as  I  pass 
to  my  room  through  the  sleeping  house,  and  feel  as 
though  a  hushed  blessing  were  upon  it. —  Thackeray. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


GOOD  NIGHT. 

Moderate!. 


Voi.KSLtKD. 


FwV~r*^"#^=^#=t^^^^j=J^te^: 


1.  How    soft     the     hap  -  py       even  -  ing's  close,   'Tis      the   hour     for 

2.  These  tran  -  quil  hours     of  so  -  cial    mirth,  Form    the    dear  -  est 

3.  Oh,      how    each  gen  -  tie    thought  is     stirred,     As      we  breathe  the 


^m 


' — •^ — — - — — 


sweet  repose,  Good 

ties  of  earth :  Good 

parting  word :  Good 


% 


^ 


fS  J 


s 


^ 


£ 


^ 


-1 — r 


^^m 


—\ 1 P 1 1 I     ^ b|- 


■& 


V 


night!  The  sum  -  mer  winds  have  sunk  to  rest.  The  moon   se  -  rene  -  ly       bright,      Sheds 

night!  And  while  each  hand  is  kind  -  ly  pressed,  Oh, may  our  pray'rs  to       heaven.      With 

night !        Could  we      but  ev  -  er    feel      as  now.  Our  hearts  with  love    up   -   raised,      And 


V 


down  her  calm  and  gen  -  tie  ray.  Soft  -  ly  now  she  seems  to  say,  Good  night ! 
hum  -  ble  fer  -  vor  be  ad  -  dressed,  For  its  bless -ings  on  our  rest:  Goodnight! 
while  our    fond     af    -     fee  -  tions   flow,    Hear  in       mur  -  murs     soft  and   low — Good  night ! 


THE  BETTER   WISH. 


Henry  Russell. 


^SP 


^^ 


^3 


^ 


^ 


f 


2=1? 


i*» — I 


If     I    had    but      a  thousand     a   year,  Gaf-fer    Green,  If  I     had    but      a  thousand    a 
The  best  wish  you  could  have,  take  my  word,  Robin  Ruff,  Would  scare  find  you  in  bread  or  in 


is— K 


:^=it 


z^nm. 


^ 


What 
Bui 


be 


man  would  I     be, 
hon  -    est  and  true, 


And  what  sights  would  I     see. 
And  say     what    would  you  do. 


If 
If 


I 

you 


3M"= 


JS=M 


S^ 


:2=k: 


--Tsa 


^^f^^ 


thousand  a 
thousand  a 


-^ \ 

had     but   a  thou-  sand  a  year,  Gaf-  fer  Green,  If      I      had  but   a 
had     but   a  thou-  sand  a  year.  Rob-in  Ruff?  If     you  had  but  a 


year! 
year! 


R.  I  would  do,  I  scarcely  know  what.  Gaffer  Green, 
I  would  go,  faith !  I  hardly  know  where, 
I  would  scatter  the  chink 
And  leave  others  to  think. 
If  I  had  but  a  thousand  a  year.  Gaffer  Green ! 
If  I  had  but  a  thousand  a  year ! 

G.  But  when  you  are  aged  and  grey,  Robin  Ruff, 
And  the  day  of  your  death  it  draws  near. 
Say,  what  with  your  pains 
Would  you  do  with  your  gains, 
If  you  then  had  a  thousand  a  year,  Robin  Ruff? 
If  you  then  had  a  thousand  a  year  ? 


R.  I  scarcely  can  tell  what  you  mean.  Gaffer  Green, 
For  your  questions  are  always  so  queer, 
But  as  other  folks  die, 

I  suppose  so  must  I —  [  Ruff? 

G.  What !  and  give  up  your  thousand  a  year,  Robin 
And  give  up  your  thousand  a  year  ? 

There's  a  place  that  is  better  than  this,  Robin  Ruff, 
And  I  hope  in  my  heart  you'll  go  there. 
Where  the  poor  man's  as  great, 
R.  What !  though  he  hath  no  estate  ? 

G.  Yes,  as  if  he'd  a  thousand  a  year,  Robin  Ruff, 
G,  &  R.  Yes,  as  if  he'd  a  thousand  a  year. 


AO 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  Ear. — The  sound  wave  passes  first  into  the 
auditory  canal,  about  an  inch  in  length,  and  striking 
against  the  tympanum,  or  ear-drum,  which  closes 
the  orifice  of  the  external  ear,  it  throws  this  mem- 
brane into  vibration.  Next,  a  series  of  small  bones, 
•called  respectively,  from  their  peculiar  form,  the 
Jiammer,  anvil,  and  stirrup,  conduct  to  the  inner 
€ar,  which  is  termed,  from  its  complicated  stucture, 
Ihe  labyrinth.  This  is  filled  with  liquid,  and  con- 
tains semi-circular  canals,  and  the  cochlea  (snail- 
shell  )  which  receive    the  vibrations   and    transmit 


them  to  the  auditory  nerve,  the  fine  filaments  of 
which  are  spread  out  to  catch  every  pulsation  of  the 
sound-wave.  The  middle  ear,  which  contains  the 
chain  of  small  bones,  is  a  simple  cavity  about  half 
an  inch  in  diameter,  filled  with  air.  It  communicates 
witli  the  mouth  by  means  of  the  Eustachian  tube. 
Within  the  labyrinth  are  also  fine,  elastic  hair-bristles 
and  crystalline  particles  among  the  nerve-fibres,  won- 
derfully fitted,  the  one  to  receive  and  the  other  to 
prolong  the  vibrations ;  and  lastly,  a  lute  of  3,000 
microscopic  strings,  so  stretched  as  to  vibrate  in  uni- 


WHY  DO  SUMMER  ROSES  FADE? 


George  Barker. 
> 


=P=W 


M 


kktizist 


-*^ 


^=i=*=^ 


Why        do    sum  -  mer    ros  -    es      fade  ? 
Then     while  sum  -  mer    ros  -   es      last, 
But      though  sum -mer    ros  -    es      die. 


If      not        to       show      how   fleet   -   mg, 
Oh,  let's       be      friends    to  -    geth    -    er, 
And  love    gives     place      to        rea    -    son. 


All  things  bright  and  fair  are  made.  To  bloom  awhile  as  half  a  -  fraid  To  join  our  sum  -  mer 
Sum  -  mer  time  will  soon  be  past,  With  au  -  tumn  leaves  around  us  cast.  And  then  comes  win-try 
Friendshippiss  without  a    sigh,      And    all      on  earth  pass  coldly    by;     'Tis  but     a    win  -  try 


^  ^  m 


f-r^^f^rrF 


1^ 


a    »  •  l»  ^  ^  »  k 


^^ 


S 


]/   '^  V  \^  V 


In*    i^    1^ 


^^ 


i^^3kk--t^^ 


-A-^^ 


^=*^^s^;l4 


*±* 


greet  - 
weath 


mg.' 
er. 
son, 


Or    do      they  on  -    ly  bloom     to      tell.  How  brief        a    sea    -    son 

Sure  -  ly  as  the  sum    mer's  day,          Friend -ship,  too,     will 

And  friendship,  love  and   ros    -    es      too,  The  spring  -  time  shall      a  - 

_  ^  .^  iff: 


s 


i 


£-8—8 


1 


^5^ 


^    \m 


:a^: 


-=i— =1- 


f 


t=r^ 


^ 


5 


i^ 


w-i^^f 


*=»t 


love  may  dwell.  Or  do    they   on  -  ly  bloom  to   tell,  How  brief    a    sea  -  son  love  may  dwell? 
pass      a- way.         Sure-  ly     as     the   sum-mer's  day.      Friendship  too     will  pass      a  -  way. 
gain     re -new.  And  friendship,  love  and  ros  -  es    too,  The  spring-time  shall   a -gain   re -new, 


^ 


Et 


i 


^^^ 


i^:^ 


'%^ 


S±it 


son  with  any  sound.  The  Eustachian  tube  is  gener- 
ally closed,  thus  cutting  off  the  air  in  the  inner  cavity 
from  the  external  air.  If  at  any  time  the  pressure  of 
the  atmosphere  without  becomes  greater  or  less  than 
that  within,  the  tympanum  feels  the  strain.  A  forci- 
ble blow  upon  the  ear  may  produce  in  this  way  tem- 
porary deafness.  In  the  act  of  swallowing,  the  tube  is 
opened  and  the  equilibrium  restored.  We  may  force 
air  into  the  cavity  of  the  ear  by  closing  our  mouth 
and  nose,  and  forcibly  expiring  the  air  from  our 
lungs.     This  will  render  us  insensible  to  low  sounds. 


while  we  can  hear  the  higher  ones  as  usual. — Steele. 
A  tired  bee  hums  in  E;  while  in  pursuit  of  honey 
it  hums  contentedly  in  A.  The  common  horse-fly, 
when  held  captive,  moves  its  wings  335  times  a  sec- 
ond; a  honey-bee,  190  times.  Youmans  says  it  is 
marvelous  how  slight  an  impulse  throws  a  vast 
amount  of  air  into  motion.  We  can  easily  hear 
the  song  of  a  bird  500  feet  above  us.  For  its  mel- 
ody to  reach  us  it  must  have  filled  with  wave  pulsa- 
tions a  sphere  of  air,  one  thousand  feet  in  diameter, 
or  set  in  motion  eighteen  tons  of  the  atmosphere. 


FRANKLIN-SQUARE   SONG    COLLECTION. 

BEULAH  LAND. 


IT 


Edgar  Page. 
J.  R.  SwENEY,  by  per. 


•^•11 


^3E 


^^ 


Mm  ^ 


u  i;  *  r 

1.  I've  reached  the  landofcom  and  wine,  And  all  its  rich-es  freelymine;  Here  shines  undimm'd  one 

2.  The  Saviourcomcsand  walks  with  me,  And  sweet  communion  here  have  we;  He  gent-lv  leads  me 

3.  A     sweet  per -fume  up- on  the  breeze  Is  borne  from  ever- ver-nal  trees.  And  flow'rs  that  never 

4.  The    zephyrs  seem  to    float  to  me,  Sweet  sounds  of  heaven's  mel-o-dy.     As     an  -  gels  with  the 


bliss -ful  day,  For  all  my  night  has  pass'da-way. 
with  His  hand.  For  this  is  Heaven's  bor-derland. 
fad  -  ing  grow  Where  streams  of  life  for  -  ev  -  er  flow, 
white-robed  throng.  Join  in  the  sweet  redemption  song. 


Oh,  Beu  -  lah  land,  sweet  Beulah  land,  As 


on  thy  highest     mount  I  stand,     I         look     a -way    a  -    cross  the  sea.  Where  mansions  are  pre- 


&^ 


pared  forme.     And     view   theshin-ing       glo-ry  shore.  My  heav'n,  my  home,  for-ev  -  er-more. 


J=t 


H 1 1 <r- 


S-i^*%j>-^ 


-^-^te  b  ^ 


w\ 


Mr~^' 


rf 


ALL  HAIL  THE  POWER  OF  JESUS'  NAME. 


E.  PERRONET,  1780. 

O.  HoLDEM,  1793.  "Coronation.' 


^£^^S 


x)  -^  •W'W'  *'  *    *'  *'  ^  ^    ^^'M'  *'  -^  "c^ 

I.   All  hail  the  power  of  Je-sus'  name  I  Let  angels  prostrate  fall;  Bring  forth  the  royal  di  -  a  -  dem.  And 

2.  Sinners,  whose  love  can  ne'er  forget  The  wormwood  and  the  gall.  Go,  spread  your  trophies  at  His  feet.  And 

3.    Let      ev'ry  kindred,  ev'ry  tribe.  On  this  ter-res-trial  ball.  To  Him  all  ma- jes  -  ty   as  -  cribe.  And 

I 


crown 
crown 
crown 


Him  Lord  of  all;  Iking  forth  the  royal  di  -  a  -  dem,  And  crown  Him  Lord  of  all. 
Him  Lord  of  all;  Go,  spread  your  trophies  at  His  feet.  And  crown  Him  Lord  of  all. 
Him  Lord    of     dl;     To  Him  all  ma -jes- ty    ascribe  And  crown  Him  Lord    of     all. 


j- 


^ 


S-=M-- 


-0-  M- 


-M-r^- 


^^ 


r      Ml 


w 


J»=Bt=|C 


^ 


=2=?2: 


■^^ 


12 


FRANKLIN-SQUARE   SONG   COLLECTION. 


Too  ARTiSTic.^The  great  mistake  as  to  the  sing- 
ing in  public  worship  is  the  desire  to  make  it  artistic. 
In  Rome  and  Paris  people  rush  to  the  churches  to 
hear  the  singing;  they  care  nothing  for  the  other 
parts  of  the  mass.  Such  is  the  case  in  many  Prot- 
estant churches,  where  devotional  singing  has  given 
way  to  the  operatic.  We  have  heard -of  a  church 
where  the  preaching  is  voted  a  bore,  but  where  the 
fashionable  resort  to  hear  sacred  songs  sung  by  pro- 
fessional singers  from  the  opera  ;  where  the  singing 
costs  more  than  the  preaching.  How  much  better 
is  it  to  go  to  such  churches,  where  the  praying  and 
preaching  are  mere  accompaniments  to  the  singing, 
than  going  to  the  opera  ?  The  truth  is,  that  we  sacri- 
fice the  devotional  in  the  proportion  that  we  cultivate 
the  artistic  beyond  a  given  line.      People  that  know 


not  a  note  in  music,  can  sing  the  praises  of  God  so 
as  to  excite  their  devotional  feelings,  if  the  tune  is  a 
familiar  one.  And  these  form  the  great  majority  of 
ordinary  congregations;  and  it  is  in  reference  to 
these,  and  not  for  the  few  cultivated  ears,  that  the 
singing  of  congregations  should  be  conducted.  We 
heard  the  choir  of  the  Sistine  Chapel,  and  of  St. 
Peter's  and  of  St.  Paul's;  but  so  far  as  devotion  i* 
concerned,  their  singing  bore  no  comparison  lo  that 
we  have  heard  in  Scotch  churches,  led  by  a  precentor 
from  a  seat  under  the  pulpit;  or  in  a  Methodist 
church,  when  the  brethren  had  "a  good  time."  The 
singing  in  which  most  of  the  people  can  unite,  may 
not  be  the  most  tasteful  and  classical,  but  is  the  best 
for  the  people;  it  is  the  most  devotional.  It  may 
grate  upon  the  ears  of  young  misses  from  boarding- 


REJOICE,  REJOICE. 


i^ 


!fehj^J.1J,^^ 


^  L 


^E^ 


ft 


r^^ 


:Sl 


m 


1.  Re  -  joice! 

2.  Re  -  joice! 

3.  Re  -  joice ! 


joice!       the  sum-mer  months  are  coming;    Re -joice!    re  -  joice!        the 

joice!       the  buddingflowers  are  bursting,    Re -joice!    re  -joice!       their 

joice!      the  sum-mer  days  are  pass  -  ing,      Re -joice!    re  -  joice  I      their 


't^-^  .m-  -m- 


trffffffB 


■^.:g:^.^.qg::g: 


t=^ 


i^ 


N— P^— S 


H — ^  n  \ 


^ 


^s^P- 


^? 


:J=it 


S^^^ 


m 


birds    be  -  gin     to     sing, 
fra-grance  fills  the   air. 
sweets  they  now  im  -  part. 


When  joy  bursts  forth  in  songs    of  praise,  And  hills  re-sound-ing 
When  ro  -  ses  bloom  and  dai  -  sies  grow,  And  woodbines  twine,  and 
The  cool  -  ing  mom,  the  sun  -  ny  day.  Which  balmy  even  -  ing 


^ 


i 


s4- 


^ 


B 


^ 


*  -IL  A'^  ^^i.^^fc=r*j^=9=^ 


ech  -  oes  raise.  When  joy 
vio  -  lets  blow ;  When  ro 
wears  a  -  way ;  The  cool 


bursts  forth  in  songs  of  praise.  And  hills  re  -  sounding  ech  -  oes  raise. 
-  ses  bloom  and  dai  -  sies  grow,  And  woodbines  twine  and  violets  blow. 
■  ing  morn,  the  sun  -  ny   day.  Which  balmy     evening  wears  a -way. 


^''  F  H 


Twrw^ 


£ 


&£e£ 


I 


S 


^ 


f 


schools,  and  of  young  gentlemen  of  operatic  tastes; 
but  because  it  elevates  the  religious  feelings  of  the 
people,  it  is  harmony  in  the  ear  of  heaven.  When 
even  soldiers  are  led  to  the  deadly  breach,  it  is  always 
under  the  inspiriting  influence  of  words  and  tunes  in 
which  battalions  may  unite.  If  the  "  Marseillaise," 
as  L?imartine  says,  was  to  Frenchmen  as  "a  recovered 
echo  from  Thermopylae,"  why  should  not  our  Chris- 
tian psalms  and  hymns  be  so  sung  as  to  be  recovered 
echoes  from  Calvary  ?  As  singing  is  the  part  of  public 
worship  designed  to  unite  all  the  people  in  concert  it 
is  a  desecration  of  it  to  surrender  it  to  a  committee 
of  artist  musicians  in  the  gallery. — Dr.  Murray. 

Strange  as  it  may  seem,  if  there  were  no  creature 
that  could  hear  upon  the  earth,  there  would  be  no 
such  thing  as  sound,  though  all  the  movements  in 
nature  were  going  on  just  as  they  are  now.     Trj-  to 


grasp  this  thoroughly,  for  it  is  difficult  at  first  to  make 
people  believe  it.  Suppose  you  were  stone-deaf, 
there  would  be  no  such  thing  as  sound  to  you.  A 
heavy  hammer  falling  on  an  anvil  would  indeed 
shake  the  air  violently,  but  since  this  air  when  it 
reached  your  ear  would  find  a  useless  instrument,  it 
could  not  play  upon  it.  And  it  is  this  play  on  the 
drum  of  your  ear  and  the  nerves  within  it  speaking 
to  your  brain  which  makes  sound.  Therefore,  if  all 
creatures  on  or  around  the  earth  were  without  ears 
or  nerves  of  hearing,  there  would  be  no  instniments 
on  which  to  play,  and  consequently  there  would  be 
no  such  thing  as  sound.  This  proves  that  two  things 
are  needed  in  order  that  we  may  hear.  First,  the 
outside  movement  which  plays  on  our  hearing  instru- 
ment; and  secondly,  the  hearing  instrument  itself,  of 
whose  structure  few  people  know  anything  whatever. 


FRANKLIA'-SQUARE    SONG    COLLECTION. 


Handel  was  one  of  the  most  humorous  of  mor- 
tals, and  at  the  same  time  one  of  the  most  irritable. 
His  best  jokes  were  perpetrated  frequently  during 
his  most  violent  bursts  of  passion.  Having  occasion 
to  bring  out  one  of  his  oratorios  in  a  provincial  town 
of  England,  he  began  to  look  about  for  such  material 
to  complete  his  orchestra  and  chorus  as  the  place 
might  afford.  One  and  another  was  recommended, 
as  usual,  as  being  a  splendid  singer,  a  great  player, 
and  so  on.  After  a  while  these  were  gathered  to- 
gether in  a  room,  and,  after  preliminaries,  Handel 
made  his  appearance,  puffing,  both  arms  full  of  man- 
uscripts. "Gentlemen."  quoth  he,  "you  all  read 
manuscripts?"  "Yes,  yes."  responded  from  all  parts 
of  the  room.  "We  play  in  the  church,"  added  an 
old  man  behind  a  violoncello.      "  Very  well,  play 


dis,"  said  Handel,  distributing  the  parts.  This  done, 
and  a  few  explanations  delivered,  Handel  retired  to 
a  distant  part  of  the  room  to  enjoy  the  effect.  The 
stumbling,  fumbling  and  blundering  that  ensued  is 
said  to  have  been  indescribable.  Handel's  sensitive 
ear  and  impetuous  spirit  could  not  long  brook  the 
insult,  and  clapping  his  hands  to  his  ears,  he  ran  to 
the  old  gentleman  of  the  violoncello,  and  shaking 
his  fist  furiously  at  the  terrified  man  and  the  instru- 
ment, said,  ''  You  blay  in  de  church ! — very  well — 
you  may  blay  in  de  church — for  we  read,  De  Lord 
is  long  suffering,  of  great  kindness,  forgiving  iniquity, 
transgression  and  sin ;  you  sal  blay  in  de  church,  but 
you  sal  not  blay  for  me  !"  and  snatching  together  his 
manuscripts,  he  rushed  out  of  the  room,  leaving  his 
astonished  performers  to  draw  their  own  conclusions. 


SHELLS  OF  OCEAN, 


i 


SJ, 


;^ 


J.  W.  Cherry.     C.  Matz  Arr. 


^ 


-"^-^^■r-a: 


# 


^ 


s 


J  J  J 


With  Expression.  ^ 

1.  One  summer     eve,     with  pen  -  sive  thought,    I    wan-der'd     on       the    sea  -  beat 

2.  I    stoop'd  up  -   on        the   peb  -  bly   strand.   To    cull    the     toys     that  round  me 


shore,\Vhereoft,  in  heed-less  in  -  fant  sport,    I    gather'd  shells     in  days  be- fore,      I   gath-er'd 
lay,     But,  as    I   took  them  in    my  hand,    I  threw  them  one     by  one    a  -  way,     I  threw  them 

■it 


shells     in 
one        by 


days    be-  fore:    The  plashing    waves  like  mus  -  ic         fell,    Rc-spon-sive 
one      a  -   way:    Oh,  thus,  I        said,    in     ev  - 'ry       stage.  By   toys  our 


m 


t=H-- 


^00 


m  ^  p 


^   p 


• w — m — w 


^^ 


t& 


X-j^^ 


^     ^ 


rf 


f5=t5 


^E 


UJu^^ 


^-K- 


*33^S 


S33 


-=i-d-- 


s* 


^ 


to      my  fan  -  cy         wild ;     A  dream  came  o'er  me  like  a  spell,       I  thought  I  was     again   a 
fan  -  cy    is    be    -     guiled ;  We  gather  shells  from  youth  to  age.  And  then  we  leave  them,  like  a 


Jjixpresston.  ;=»    ::>.    :s=- 


Ad  lib. 


-^-. 


r:^      ^ft\        I 


iiffjg^^lr 


child, 
child. 


Wiwf 


u  ■ —       ^     . 

A  dream  came  o'er  me  like  a  spell,  I  thought  I  was    a -gain,    a-    gain      a    child. 
We  gath-er  shells  from  youth  to  age.  And  then  we  leave  them,  leave  them,  hke  a  child. 
_      _  ■'^"  .~      —       _  ^H    Grace  notes  to  ■zd  verse. 


W~Wlf. 


p^mTJ 


\^V  '^ 


w—W 


>    V 


t£=tc 


14 


FRANKLIN-SQUARE   SONG    COLLECTION. 


I  HAVE  often  seen  piano-forte  players  and  singers 
make  such  strange  motions  over  instrument  or  song, 
book,  that  I  have  wanted  to  laugh  at  them.  "  Where 
did  our  friend  pick  up  these  fine  ecstatic  airs?"  I 
would  say  to  myself.  Then  I  would  remember  my 
lady  in  "  marriage  a  la  mode,"  and  amuse  myself 
thinking  an  affectation  was  the  same  thing  in  Hogarth's 
time  as  in  our  own.  But  one  day  I  bought  me  a 
canary  bird  and  hung  it  up  in  a  cage  at  my  window. 
By-and-by  he  found  himself  at  home,  and  began  to 


pipe  his  little  tunes;  and  there  he  was,  sure  enough,, 
swimming  and  waving  about,  with  all  the  droopings- 
and  liftings,  languishing  side-turnings  of  the  head  that 
I  had  laughed  at.  And  now  I  should  like  to  ask  who- 
taught  him  all  this?— and  me,  through  him,  that  the- 
foolish  head  was  not  the  one  swinging  itself  from 
side  to  side  and  bowing  and  nodding  over  the  music, 
but  that  other  which  was  passing  its  shallow  and: 
self-satisfied  judgment  on  a  creature  made  of  finei; 
clay  than  the  stalwart  frame  which  has  so  very  long. 


HERDSMAN'S  MOUNTAIN  HOME. 

(DER  SCHWEIZERBUE.) 


Carl  Matz  Arr. 


1.  On  the  mountain,  steep  and  hoary.  Sounds  the  herdsman's  evening  song;  Where  the  clouds,  in  golden* 

2.  Where  the  Alpine  rose  is  blowing.  Where  the  herdsman  builds  his  home ;  From  his  couch  at  morning 


=^ 


S 


glo  -  ry.  Float  the   ambient  tide     a  -  long.  Where  the  clouds,  in    gold-en   glo  -  ry.  Float  the 
go  -  ing.  With  the  lark    he  loves  to     roam!  From  his  couch  at    morning  go-ing,  With  the 


ambient  tide  a    -    long.  La  la     la         la    la    la     la  la  la    la      la     la  la 

lark  he  loves  to     roam !  La  la     la         la    la     la     la  la  la    la      la     la  la 


-Q^ 


ggy^^P 


^ 


^  p  p  -m- 


WPW    k 


i 


^sct^ 


i  ''-'V  I — t- 


la        la    la     la     la  la  la      la  la  la 

la  la         la  la  la 


la    la 


S 


JMfc 


la         la   la      la     la  la  la    la 

0  0  P      4 


r—r-r 


^ 


k    b- 


la    la 


la       la    la, 


^^a 


r-P- 


:t2=tz: 


? 


la      la 


la 


la    la     la     la  la   la 


la 


la 


la       la      la. 


carried  that  same  critical  head  upon  its  shoulders? 
Your  former  conversation  has  made  me  thmk  re- 
peatedly what  a  number  of  beautiful  words  there  are 
of  which  we  never  think  of  estimating  the  value,  as 
there  are  of  blessings.  How  carelessly,  for  example, 
do  we  (not  we,  but  people)  say  "I  am  delighted  to  /tear 
from  you."  No  other  language  has  this  beautiful  ex- 
pression, which,  like  some  of  the  most  lovely  flowers, 
loses  its  charm  for  want  of  close  inspection.  When 
B  consider  the  deep  sense  of  these  very  simple  and 


very  common  words,  I  seem  to  hear  a  voice  coming 
Irom  afar  through  the  air,  intrusted  to  the  care  of  the 
elements,  for  the  nurture  of  niy  sympathy. —  Landor. 
We  often  hear  that  this  or  that  "  is  not  worth  ai» 
old  song."  Alas!  how  few  things  are!  What  pre- 
cious recollections  do  some  of  them  awaken  !  What 
pleasurable  tears  do  they  excite !  They  purify  the 
streams  of  life;  tiiey  can  delay  it  m  its  shelves  and 
rapids;  they  can  turn  it  back  again  to  the  soft  cool 
moss    amidst    which    its    sources   issue. — Landor. 


FRANKLIN-SQUARE    SONG    COLLECTION. 

SOUND  OUR  VOICES  LONG  AND  SWEET. 

Lively.  ^^^       w  I*..     ..  .       .       f^     ^ 


1^- 


Bohemian  Melody. 


EgE^^g^^^^^ 


*E=I«[ 


:iaE 


1 .  Sound  our  voices  long  and  sweet,  And  roll  the  stirring  drum ;  Friends  and  neighbors  round  us  meet,  And 

2.  Now  the  ro  -  sy  morn  is  come,  Of  merry,  gladsome  May,  With  birds  that  carol,  bees  that  hum — A 


to     our  greeting      come:  Come  where  music     float -elh  oft,  On      soft  and  balmy         air: 
welcome,  hap-py       day.    Wild  flowers  now  in  fair  -  y  nooks  are  shedding  sweet  per-fume.  The 


Je-J^-J^-Jtf: 


iS 


-J- 


^-ft 


'^mmMm^ 


i^^^is^^si^^^i 


Ye  whose  hearts  by  grief  are  stirred.  And  ye  whose  skies  are  fair.  I  ™     111  la        la      1 

Spring  makes  glad  the  mossy  brooks.  And  all  the  meadows  bloom .  ^ 

I  I 


^^^m^^^^^^^ 


t^i 


^^^^^m^^^m^^mMm 


Sound  our  voices  Ion"  and  sweet,  And  roll  the  sUrring  drum ;  Friends  and  neighbors  round  us  meet,  And 


tei^^g^i^Stei 


to  our     greeting    gUd-lycome,   To  our    preeting  glad  ly  come,  To  our   greetmg    come. 


l6 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Music  in  Schools. — Controversy  in  reference  to 
the  introduction  of  the  study  of  music  in  public 
schools  is  not  uncommon.  Those  who  oppose,  hold 
that  music  is  a  specialty,  that  there  is  no  general 
necessity  for  its  culture,  because  its  use  is  only  for  the 
few.  A  little  observation  will  show  the  opposite  of 
this  to  be  the  truth.  What,  indeed,  is  more  common 
than  music?  It  follows  us  from  the  cradle  to  the 
grave.     The  infant  is  cradled  with  a  lullaby.     Every 


ingleside  blossoms  with  song.  Every  service  of  the 
sanctuary  is  strengthened  by  it.  Every  emotion  of 
our  human  nature  utters  itself  through  it.  Every 
convention  is  enlivened  by  it.  Almost  every  town 
has  its  band,  and  every  hamlet  its  instrument,  and 
every  hedge  and  grove  their  warblers.  It  is  com- 
mon almost  as  the  air  we  breathe.  The  very  fact  of 
its  use  makes  it  useful,  and  shows  its  need.  But  it 
is  said.  How  can  a  science  so  difficult  and  so  hard 


-SWEET  AND  LOW. 

Largheito. 


i^ 


J.  Barnbv. 
Alfred  Tennyson. 


^ 


& 


s; 


S 


:& 


n 


1.  Sweet   and  low,  sweet  and  low.  Wind    of    the    west     -     em    sea 

2.  Sleep     and  rest,  sleep  and  rest.     Fa  ■  ther  will  come    to  thee  soon; 


11^ 
Low,    low, 


Rest,    rest     on 


breathe   and  blow.  Wind   of  -  -the    west      -      em     sea; 
moth  -  er's  breast.   Fa  -  ther  will  come     to     thee  soon; 


O  -  ver  the     roll     -  ing 

O          -  -          ver  the 

Fa-  ther  will  come  to  his 

Fa        -  -         ther  will 


^-^^^t^fr^ 


wa  -  ters  go.  Come  ^om  tj^e  dy  -  iriig  moon  and 

wa  -  ters  go.         Come  froth  tho  moon  and 

babe  in  the  nest,    Sil      -      ver  sails  all  out  of  the 

come  to  his  babe,   ^il        -        ver  sails  out         of  the 


blow,  Blow  him     a  -  gain       to 

blow, 

west,    Un  -  der   the      sil   -   ver 

west. 


fe^C"  "^-^ 


J'^^^r  .-^^^ 


q??=p: 


Ie^ 


-^ 


rail,  e  dim. 


3 


^^F=^ 


^^sfed 


t=i 


While     my       lit  -    tie  one,  while    my    pret  -  ty 
Sleep,    my       lit  -    tie  one,  sleep,    my     pret  -  ty 


r^ri**r 


r 


one 
one. 


sleeps, 
sleep 


^ 


g^tigij^ 


^m 


^r  y^'  , 


m 


^a 


F=^ 


to  master,  be  introduced  into  our  common  schools? 
No  one  expects  the  science  to  be  mastered  in  the 
common  schools.  We  have  grammar;  but  who  Sup- 
poses that  the  common  schools  will  e.xhaust  the  study, 
and  send  out  accomplished  philologists?  We  have 
reading  and  writing;  but  who  supposes  that  the 
common  schools  are  to  turn  out  finished  scholars  in 
belles-lettres  ?  What  is  desired  is  simply  this, — that 
the  presence  and  power  of  musie  shall  be  felt  in  the 


common  schools.  That  the  children  shall  be' able  to 
sing.  That  the  teachers  shall  so  far  master  the  fun- 
dameiital  principles  of  the  science,  as  to  be  able  to 
guide  the  children  in  the  culture  of  this  department 
of  art.  The  mother  needs  it  in  the  family.  Our 
manhood  needs  its  refining  and  hallowing  power. 
Our  churches  demand  it.  Our  very  nature  by  divine 
providence  craves  it,  and  no  primary  or  secondary  in- 
struction can  be  compkte  without  it. — E.  E.  Higbee. 


FRANKLIA'-SQUARE    SONG    COLLECTION 


i? 


LET  OTHERS  DREAM. 

spirited. 


J.  C.  Johnson. 


I.  Let   oth  -  ers  dream  of  pleas-ant  lands,  Be-yond  the  stormy     o-cean;    Of  gold  -  en  treasure 
2.'Twas  therein  childhood's  ear-ly  day,    I       car-oled  loud  for    glad- ness.  And  youth  a -mid  the 


jg:  -r-  -^ ,  i»-  -*-  T-  -g- 


9^^ 


^^ 


^E^^ 


i*  i*  ^ 


^: 


t: 


g^^f3te3 


1=1^ 


j=J=f=P^^^gii 


^      ' — ^ 


in     the  sand,  And   air     in     gen     tie      mo  -  tion.There  is      a     dear-er,    hap-pier scene, To 
ver-dant  bowers,  Had  never  thought  of      sad  -  ness.  And  now   in  sweet-est     rev  -  e-  rie,  When 


-r  -r 


:^=S= 


-r  -r  -r  -r 


^ 


"y~~ar 


?^ 


?^ 


^^zzjEij^^jzm^ 


1^^^ 


2^ 


:^: 


i^E? 


fan  -  cy   oft    ap-pear-ing.  It      is  my    na-tive  val-ley's  green,  With beautymild  and  cheering, 
even-ingihadesarefall-ing,  Comes  forth  each  pleasant  memory,  Thattiraeof  light  re  -  call  -  ing. 


-»-  -m-  -(*-  -^ 


ES^zE 


:&- 


-^^^ 


P^ 


]^r-]gv-^ijr--r-^-,-g-  ^ 

!       y — p-  I       I       j       I      Hg      ,B 


^ 


?^ 


^ 


VESPER  HYMN. 


Moderato. 


bortnianski. 
Thomas  Moore. 


^ 


^ 


'■"ir^, 


^^^^^ 


J    ^    *  1  g 


1,  Hark!  the  ves-per  hymn  is   steal-ing   O'er  the   wa-ters,  soft  and  clear; 

2.  Now  like  moonlight  waves  retreating  To  the  shore,  it      dies    a -long; 


^     ^ 


^(^     ^.^ 


-*-4iB- 


=U=?^ 


-f-f-r=g: 


^i 


Near-cr    yet    and 
Now,  like  an  -  gry 

0^0 — O^- 


y     !** — m- 


i^^^^^^B 


/ 


'g  >*- 


near  -  er   peal  -  ing,  Soft    it  breaks  up  -  on    the    ear,        Ju  -  bi  -  la  -  te, 
surg  -  es  meet- ing.  Breaks  the  mingled   tide    of   song.      Ju  -  bi  -  la  -  te. 


:g=S=f 


Ju  -  bi  -  la  -  te, 
ju  -  bi  -  la  -  te. 


Ju-bi-la-te,     A*-  men.   Far-ther  now,  I'ow  farther  stealing.  Soft  it  fades 
Ju-bi-la-te,     A    -  men.    Hark  I  again,  like  waves  retreating  To  the  shore 


up -on    the    ear. 
.  it  di(.s     a  -  long. 


jg^a  ere  f^f^^^^^^BE^z 


*  Pronounce  as  in  /a  orya-ther 


II-B 


I8 


FRANKLIX-SQUAKE   SOXG    COLLECTJOM. 


Religion  has  yoked  all  the  arts  and  sciences  to  her 
chariot,  and  one  of  the  first  of  them  was  poetry,  which 
expresses  for  us  that  to  which  logic  and  science  cannot 
give  utterance.  Who  does  not  thrill  at  the  hymn  of 
John  Henry  Newman,  "  Lead,  Kindly  Light,"  written 
when  he  felt  the  impending  change  of  his  whole  life, 
that  was  to  alienate  him  from  so  many  friends  and  cast 
so  much  suspicion  on  him  ?  Who  does  not  feel  the  im- 
pulse of  Bernard's  "  Jerusalem  the  Golden,' '  or  the  Vent, 
Creator,  written  in  the  time  of  Charlemagne  ?     Such 


hymns  are  outside  of  dogma ;  they  are  common  to  all 
churches.  Catholic  and  Protestant.  But  you  say  these 
are  too  old  for  the  Sunday-school.  Perhaps  they  are, 
yet  they  are  far  better  for  such  use  than  the  doggerel 
verses  so  often  employed.  Hymns,  if  they  must  be  sim- 
ple, must  also  be  dignified  ;  it  is  absurd  to  set  a  great 
bearded  fellow  singing  of  his  little  hands  and  feet,  of 
his  fresh,  clean  face.  It  is  no  doubt  necessary  to  teach 
children  hymns  they  understand,  but  their  future  must 
be  looked  to ;  thus  it  is  well  to  teach  them  hymns  they 


i 


WHAT  IS  HOME  WITHOUT  A  MOTHER? 

Moderato. 


Alice  Hawthorne. 
Per.  Oliver  Ditson  &  Co. 


^ 


t- 


m. 


w 


^^ 


*?*r*St^ 


1^E3E*E^* 


US' 

1.  What       is     home    with    -  out      a      mother?  What     are    all  the    joys   we    meet, 

2.  Things   we    prize      are       first     to      van  -  ish.  Hearts  we    love  to     pass     a  -  way ; 

3.  Old     -     er    hearts   may      have  their  sor- rows,  Griefs     that  quickly    die      a-  way. 


When  her  lov  -  ing  smile  no  long-er  Greets  the  coming,  coming  of  our  feet? 
And  how  soon,  e'en  in  our  childhood.  We  behold  her  turning,  turn  -  ing  grey: 
But         a      moth  -  er         lost    in    childhood    Grieves  the  heart,  the  heart  from  day  to  day; 


The 
Her 
We 


days  seem  long,  the 
eye  grows  dim,  her 
miss    her     kind. 


nights     are  drear, 

step       is      slow ; 

her         will    -  ing  hand 


5:  ^    » 

And  time  rolls  slow  -  ly 

Her  joys     of  earth  are 

Her  fond  and  ear   -  nest 


on:  And 

past ;  And 

care ;  And 


^e=e-- 


m^ 


-r-T-- 


s 


w^ 


^-^mi 


^t 


Lo    '    I 


$ 


— I r> — I— ^ — ^S ^ 


-X 


tti 


^* 


f^^ 


:15=^=S 


i^^-SF^J^r^ 


oh !  how  few  are  childhood's  pleasures, 
some  -  times  'ere  we  learn  to  know  her, 
oh!       how     dark     is       life       a -round    us, 


When  her  gen -tie,  gen -tie   care     is      gone. 
She  hath  breath'd  on  earth,  on  earth  her  last. 
What  is  home  without,  without    her     there. 


do  not  wholly  understand,  that  theymay  growup  with 
their  ideas  in  them.  Are  not  literary  tastes  formed  in 
part  by  the  selections  in  reading-books  that  we  do  not, 
as  children,  fully  understand  ?  Like  the  choice  of  these 
prose  selections  should  be  that  of  Sunday-school  hymns ; 
especially  so  should  it  be  for  those  who  are  just  about 
entering  on  manhood  and  womanhood.  They  should 
be  given  that  which  will  be  of  greatest  use  to  them. 

Helen  sat  down  at  the  piano.    Her  time  was  perfect 
and  she  never  blundered  a  note.     She  played  well  and 


woodenly,  and  had  for  her  reward  a  certain  wooden  sat- 
isfaction in  her  own  performance.  The  music  she  chose 
was  good  of  its  kind,  but  had  more  to  do  with  the  in-, 
strument  than  the  feelings,  was  more  dependent  upon 
the  execution  than  the  expression.  Bascombe  yawned 
behind  his  handkerchief,  and  Wingfold  gazed  at  the 
profile  of  the  player,  wondering  how,  with  such  fine 
features  and  complexion,  with  such  a  fine  shaped  and 
well-set  head,  her  face  should  be  so  far  short  of  inter- 
esting. It  seemed  a  face  that  had  no  story. — Macdonald. 


FRAxXKLIN-SQUARE   SONG    COLLECTION. 


>9 


THAT  SWEET  STORY  OF  OLD. 


#==« 


^=^^-^-d-^Eg^ 


^^rS 


IS 


Greek  Melody. 
Jemima  Thompson-Luke.  1841. 


S 


i^^s^s 


-^Ht 


I        think,  when  I  read  that  sweet  sto  -  ry     of  old,    When   Je  -  sus  was  here  among  men. 
I     wish  that  His  hands  had  been  placed  on  my  head,  That  His  arm  had  been  thrown  around  me, 
Yet    still      to  His  foot-stool  in  prayer  I  may  go.     And     ask   for  a    share  in  His  love; 
In  _that  beau  -  ti  -  ful  place  He  has  gone  to  prepare  For       all  who  are  washed  and  forgiv'n : 


How  He  called  lit  -  tie  children  as  lambs  to  His  fold,  I  should  like  to  have  been  with  them  then. 
And  that  I  might  have  seen  His  kind  look  when  He  said,"Let  the  lit  -  tie  ones  come  un  -  to  Me." 
And  if       I   but    ear-nest  -  ly  seek  Him  be-low,    I  shall  see  Him  and  hear  Him  a  -  bove. 

And  ma-ny  dear  chil-dren  are  gath-er-ing  there,  "For  of  such  is   the   kingdom  of  heaven." 


JOY  BELLS  RING  TO-DAY. 


Scotch  Air. 


Joy    bells  ring  through  all  the     vale. 
Dew-drops  gleam  up  -  on      the     grass. 
Sweet  the  lin  -  net's  clear  flute   note. 


Joy  bells  ring  to  -  day; 
O  -  dors  scent  the  air; 
Nev-er     life  more     fair; 


Bright  tlie  sun  -  ny 
Shad  -  ows  from  the 
War-blingnow  each 


:e=e 


fc;fef-M 


r-r 


f 


a^ 


¥   ¥     ^ 


fetm 


v-r 


Chorus. 


i 


^E^ 


^. 


m=m: 


1^ 


i^ 


the 


^     ^  j^     tf : 


^    ^  ^  -jd 


hours  we  hail, 
clouds  that  pass 
tune  -  ful   throat; 


^ 


-r  r- 


J^^ 


'Tis  the  hap  -  py  May. 
Make  the  scene  more  fair. 
Vo  -  cal   all      the      air. 

r  r  r  r 


Joy  bells  ring  to  -  day,  Through  the  vale  a 
Joy  bells  ring  to  -  day,  Through  the  vale  a 
Joy  bells  ring  to  -  day,  Through  the  vale  a 


«=:«=Ji=e 


f=F=r-=g 


r-r 


p-^w  k    ^- 


m 


Our   gladness  now  there's  nought  to  mar.  The    joy   bells  ring  to 

-f-  -f-     -f    ,^ — m—^ — |i— n.* — "T"  "T" (•- 


1 


tr-U- 


f 


1»=tt 


Loiter  we  in  childhood's  dream, 

Fairy  realms  abound ; 
Linger  we  beside  the  stream, 

Glory  all  around. — CAo. 


Dreaming  o'er  our  happy  lot, 
Heav'n  ne'er  seemed  so  near; 

Would  you  find  Earth's  favored 
Seek  it,  wand'rer,  here.    [  spot. 


Mem'ry  bells  these  sounds  shall  be, 
Tones  that  ne'er  depart ; 

Mem'ry  bells  for  thee  and  me, — 
We  listen  with  the  heart. —  CAo. 


M 


FRANKLIN-SQUARE   SONG    COLLECT/ON. 


Musical  Trash. — I  wish  to  express  my  unfeigned 
disgust 'at  the  flood  of  musical  trash  that  is  annually 
poured  from  our  music  publishing  houses  in  the  shape 
of  new  tune-books.  Every  fresh  book  mu.st  contain 
new  and  original  music.  The  old  tunes  must  be 
mangled  past  recognition,  and  the  compiler  must  rack 
his  brains  to  invent  new  and  more  dreadful  abortions, 
labeled  with  astounding  names,  and  called  tunes.  If 
all  the  organists  in  the  country  were  to  meet  in  con- 
vention, and  then  vote  on  the  best  and  most  useful 
chorals,  they  would  blot  out  of  existence  nine-tenths  of 
these  tunes,  and  give  us  a  list  of  not  over  one  hun- 
dred congregational  tunes  of  real  merit.     There  are  at 


least  twenty-four  hundred  pages  of  new  tunes  pub- 
lished every  year.  Of  these  how  many  are  worth  the 
paper  they  are  printed  upon  ?  Perhaps  a  dozen  tunes. 
Taking  all  the  civilized  people  in  the  world  together, 
it  is  found  that  only  one  man  in  a  million  is  a  musi- 
cal composer  of  real  genius.  Plenty  of  people  can 
pick  out  a  tune  on  the  piano.  They  are  not  com- 
posers. We  have  in  the  United  States  a  few  men,  like 
Zundel  and  Tuckerman,  who  can  write  a  choral.  The 
music  they  give  us  \\\\\  live.  As  for  the  rest,  to  the 
trunk-maker  with  it !  A  poor  tune-book  will  make 
good  kindling.  To  the  fire  with  the  rubbish,  and  let 
the  smoke  rise  as  incense  to  pure  art. — Barnard. 


THE. SUMMER  DAYS  ARE  COMING. 

spirited.  1^  . 


Chas,  Jeffreys 


3 


^^^^t^^T^ 


^=^ 


W^ 


^  ry  w 


1 .  The     sum  -  mer     days     are       com  -  ing.       The      bios  -  soms    deck    the      bough,  The 

2.  The     min  -  strel      of       the      moon-  light,     The      love  -  lorn   night  -  in    -    gale.  Hath 

3.  We'll  rise      and     hail     thee       ear    -   ly,       Be    -    fore      the       sun   hath      dried  The 


g 


g 


i=2: 


PP 


^PS 


f 


:^ 


^ 


S 


^^^- 


^3 


Sr^4^ 


^ 


^Efi 


^ 


bees  are  gai  -  ly  humming,  And  the  birds  are  sing -ing  now.  We've  had  our  May- day 
sung  his  month  of  mu  -  sic,  To  the  rose  queen  of  the  vale  ;  And  what  though  he  be 
dewdrops  that  will      spar  -  kle  On  the     green  hedge  by    our  side ;    And     when  the  blaze  01 


m. 


i^t^^^PPP^ 


g^^ 


^^ 


:J's=S 


tjJ     f     1^ 


^=^N=i: 


5=%=S 


gar-lands,  We  have  crown'd  our  May-day  queen  With  a      cor  -  o-  net     of      ro  -  ses    Set     in 
si-  lent?  As    the    night  comes  slowly       on,    We    will    trip      a  -  long  the  green-sward  To  sweet 
noonday  Shines  up  -  on     the  thirst  -  y   flowers.  We  will    seek  the    wel-come  cov  -  ert     Of     our 


leaves  of  bright-est  green.  But  her 
mu  -  sic  of  our  own.  Oh,  the 
jas  -  mine  shad-  ed  bowers.      Oh,  the 


reign   is      al  -  most       o  -  ver,     The  spring  is      on 
sum-mer  days  are     com  -  ing,     And     sum-mer  nights 
sum-mer  days  are     com  -  ing,     The   spring  is      on 


the 


more 
the 


^ 


Pi 


## 


r--^- 


^ 


n 


p^T73^^i^i^^^ 


wane.  Oh,  haste  thee,  gen  -  tie  Sum  -  mer.  To  our  pleas  -  ant  land 
dear;  Oh,  haste  thee,  gen  -  tie  Sum-mer,  For  there's  joy  when  thou 
wane ;        Oh,     haste  thee,  gen  -  tie     Sum  -  mer,     To    our     pleas  -  ant    land 


I 
gain, 
near, 
gain. 


w 


F-giiCrriLctlftipip 


FRANKLIN-SQUARE   SONG    COLLECTION. 


21 


FLY  AWAY,  PRETTY   MOTH. 

Ailei^retto. 


Thos.  H.  Baily. 


^=^ 


^ 


N     N 


:il=it: 


i 


^^piiaii^ 


z^ 


:1^^ 


1^^ 


^^^ 


:;^t=it: 


1.  Fly    a    -    way,  pret  -  ty    Moth,  to  the     shade         Of     the      leaf  where  you  slumber'd  all 

2.  I     have     seen,  pret  -  ty  Moth,  in  the     world.        Some  as     wild    as   yourself    and      as 


P^ 


^^ 


:^=^=tz=t^=k 


-j?   y  m 


^    ^ 


$ 


Jt=t5: 


>— ^^ 


P 


1^=ts: 


—I H= p — at 


:^=^ 


^=fs= 


^^=i=^ 


day, 

gay, 

I 


Be     con  -  tent       with   the  moon,     and    the      stars,      pret  -  ty   Moth,      And  make 
Who,  be  -  witch'd   by     the  sweet      fas  -  ci     -     na    -    tion    of    eyes,        Flit  -  ted 


?^ 


>  u    C"  ^ 


^f^==f^ 


-s»^ 


i=^ 


^^=^ 


-^—^- 


i 


^E^ 


-^    1      J 


^^ 


-^    J      J    g 


:?^ 


use         of    your  wings  while  you      may.         Tho'    yon      glit     -     ter  -  ing  light      May  have 
round  them  by    night     and     by        day.         But  though  dreams      of     de  -  light      May  have 


m 


-(*    p    m- 


■r  -r 


^f^-:^ 


H 1 1 ^ W 1 1 


k    k 


n 


-^^  J    .»   r> 


^ 


s^ 


3=: 


^ 


daz  -  zled  you  quite,  Tho'  the      gold     of    yon  lamp  may   be         gay, 
daz  -  zled  them  quite,  They  at      last    found  it     dan  -  ger  -  ous       play ! 

e  r-  r-  i^  r:  ,  z  n  z  r—^  ^  ■  ir 


U    I   k     |g=)g: 


Ma  -  ny 
Ma-  ny 


?^ 


^^ 


U"    l^  1*= 


V    t^. 


things  in  this  world  that  look  bright,  pretty  Moth,  On-ly  daz  -  zle    to  lead    us    a  -  stray;     Ma-ny 
things  in  this  world  that  look  bright,  pretty  Moth,  On  -  ly  daz  -  zle   to  lead    us    a  -  stray ;     Ma  -  ny 

-r  -r-r-r 


-^r 


fgiqg-l^     p  »    p    p  WT^ 


:BzBl 


1^=m^ 


|cS&2=^=jt 


±=t 


i^   ;^- 


4?=t^ 


-b»^-fc^ 


-i*'-i»»- 


i 


p: 


things  in  this  world  that  look  bright,  pret-ty  Moth,  Only     daz -zle  to    lead  us     a  -  stray, 
things  in  this  world  that  look  bright,  pret-ty  Moth.  Only     daz- zle  to    lead  us     a  -  stray. 


32 


FRANKLIN-SQUARE   SONG    COLLECTION. 


To  Religion,  music  owes  indeed  a  threefold  hom- 
age. First,  the  earliest  authentic  records  which  we  have 
in  the  history  of  music,  as  it  now  is,  are  records  in  the 
history  of  church  music ;  so  that  music,  as  an  art,  began 
in  the  church.  Second,  the  greatest  workers  in  the 
realm  of  music,  and  a  large  majority  of  all  the  workers 
in  that  realm,  have  been  earnest  Christian  men,  influ- 
enced, and  to  a  great  extent  controlled,  by  a  strong 
religious  zeal.  Third,  the  subjects  which  have  inspired 
the  masterpieces  of  the  classics,  are  themes  taken  from 
the  Christian's  guide-book,  the  Bible.  Although  the 
ancient  Egyptians,  Greeks  and  Romans  had  both  vocal 
and  instrumental  music,  yet,  as  Mr.  Hunt  says  in  his 
concise  History  of  Music,  "  It  is  not  until  the  fourth 
century  after  Christ,  that  the  actual  history  of  music  as 
a  separate  art  begins."     Not  only  did  it  have  its  be- 


ginning in  the  Christian  era,  but  it  received  its  first 
tangible  and  permanent  mold  from  zealous  Christian 
men.  They  not  only,  as  Choran  says,  "transmitted 
to  us  all  the  ancient  practical  music,  with  which  we 
are  acquainted,"  butthey  built  upon  this  the  foundation 
upon  which  the  present  superstructure  stands.  How 
long  might  music  have  languished  and  remained  rude 
and  uncultivated  if  there  had  not  arisen  such  zealous 
Christian  workers  as  Pope  Sylvester,  St.  Ambrose,  St. 
Gregory  and  Guido  Aretina !  The  greatest  composers 
of  music,  and  those  who  have  done  most  for  the  art, 
have  been  men  of  deep  religious  feeling,  earnestly  la- 
boring to  render  their  best  service  to  a  God  whom  they 
not  only  loved,  but  whom  they  believed  to  demand  of 
them  ten  more  talents  for  the  talents  he  had  lent.  Un- 
der the  influence  of  religious  zeal  a  man  will  accom- 


THE   MILLER   OF  THE  DEE. 


Chas.  Mackay. 


1.  There  dwelt  a  mil  -  ler,  hale  and  bold,  Be  -  side    the   riv  -  er      Dee; 

2.  "Thou'rt  wrong,  my  friend  !"  said  old  king  Hal,  "As  wrong  as  wrong  can  be; 

3.  The     mil-ler  smiled  and  doffed  his  cap :  "I    earn    my  bread,"  cjuothhe; 

4.  "Good  friend,"  said  Hal,  and  sighed  the  while, "Farewell !  and  happy  be; 


He  wrought  and  sang  from 
For  could  my  heart  be 
"I     love    my  wife,    I 
But    say     no  more,  if 


morn    till  night,  No  lark  more  blithe  than  he ; 
light     as    thine,  I'd  glad  -  ly  change  with  thee, 
love     my  friend,  I     love    my  chil  -  dren  three, 
thou'dst  be  true,  That  no    one  en   -  vies    thee ; 


tk 


Ie^ 


-^-H* 


den  of       his  song  For   - 
what  makes  thee  sing  With 
I    can  -  not  pay,    I 
is  worth  my  crown; Thy 

S-m-    -^  ^        ^ 


^gj-ilrj^g^^i 


iS 


^S. 


f 


=^ 


'■^^ 

ev  -  er  used   to      be,       "I      en  -  vy    no     one — no,  not    I!  And  no     one  en  -  vies     me! 

voice  so  loud  and  free     While  I    amsad,  though  I'm  the  King,  Be  -  side    the  riv -er       Dee?' 

thank  the  riv- er     Dee,    That  turns  the  mill  that  grinds  the  corn  To    feed  mybabesand  me!" 

mill  my  kingdom's  fee!    Such  men  as  thou  are  England's  boast.  Oh,   mil  -  ler  of     the     Dee" 


plish  more  than  under  any  other  impulse.  Can  we 
think  of  the  author  of  "The  Messiah"  as  any  other 
than  a  religious  man  ?  Moore  says,  in  his  Encyclopedia, 
"  Haydn  was  very  religious;  it  may  even  be  said  that, 
through  his  firm  faith  in  the  truths  of  religion,  his  talent 
was  increased."  The  commencement  of  all  his  scores 
was  inscribed  with  some  of  the  following  mottoes :  "  In 
Nomine  Domini,"  ( In  the  name  of  the  Lord )  or  "  Soli 
Deo  Gloria,"  (To  God  alone  be  glory)  and,  at  the  end 
of  all  of  them,"  Laus  Deo."  (Paiseto  God).  He  him- 
self said :  "  When  I  was  working  on  '  The  Creation,' 
I  felt  myself  so  penetrated  with  religion,  that,  before  I 
sat  down  to  my  piano,  I  prayed  confidently  to  God  to 
give  me  the  talent  requisite  to  praise  him  worthily." 
Of  Mendelssohn,  I.amiiaflius  s.iys  :  "  To  speak  out  in  a 


single  word  what  was  the  most  salient  feature  of  his 
character,  he  was  a  Christian  in  the  fullest  sense." 
But,  after  all,  the  subject  which  the  composer  chooses, 
the  theme,  is  often  a  fountain  of  inspiration.  How 
could  Haydn  have  written  so  grandly  if  he  had  not  for 
a  subject  "  The  Creation  ?"  What  characters  for  gran- 
deur are  Elijah  and  St.  Paul?  What  could  have  in- 
spired Handel  like  "  The  Messiah,"  or  upon  what  other 
theme  could  he  have  heard  angelic  hosts  shouting 
"  Hallelujah,  hallelujah !"  We  need  but  mention  such 
subjectsasthe  Masses  (for  example,  Beethoven's  Mass 
in  D),and  the  grandest  and  most  sublime  of  all  music, 
Bach's  "Passion  Music,"  "which  will  endure  unto 
the  end  of  time,''  to  show  what  great,  almost  heavenly 
power,  is  drawn  forth  by  religious  subjects. — More. 


FRANKLIX-SQUARE    SONG    COLLECTION. 


23 


BREATHINGS   OF   SPRING. 

Moderato.    |  tn.f 


Von  Webkr. 
Felicia  Hkmans. 


^ 


1.  What  wakest 

2.  And     the 

3.  And     the 
4 


And     flow 


thou,    Spring?. sweet  voices      in 
leaves    greet  thee,  Spring !  the  joy 
bright     wa  -  ters-they  too      hear 
ers !  the  fair-peopled  world  of 


wood,   And    reed  -  like 
ous       leaves,  Whose  tremblings 
thy         call,      Spring,  the       a 
flow  -    ers.       Thou     from    the 


£¥ 


z:^ 


g? 


^ 


j^i-.-i^ 


^^ 


s 


-j^J'-d- 


s 


\o 


g^r 


d? 


ech  -    oes  that  have     long 
glad  -  den  many  a       copse 
wak   -    ener !  thou  hast  burst 
dust       hast  set  that      glo 


been  mute,  Thou    bring    -  est  back 

and  glade.  Whose  each  young  spray 

their  sleep:  A     -     midst  the  hoi    - 

ry  free,     Col    -    or      -  ing  the 


to     fill   the 
a       ro  -  sy 
lows  of    the 
cow-slips  with 


^E^EzEg 


3e=r: 


^^ 


:-t:iit 


:*=^ 


-f-1- 


>^J^J^-J^v^L^ 


:=t 


%^^^^$^% 


?2= 


r^ 


^•-^— -it- 

s  view  -  less 
cluster  -  ing 
for       -         ests 


I 


sol  -         i     -      tude,     The  lark's  clear  pipe,  the  cue     -  koo' 

flash  re    -     ceives,  When  thy  south  wind  hath  pierced  the 

rocks,  their     fall         Makes  mel  -  o  -  dy,  and  in  the 

the  sunny  hours.   And     pen  -  cil  -  ling  the  wood  -  an 


^ 


SZ 


P-^1 1 1 wt 


^^-^^ 


i 


i 


g 


•-^^^ 


«tp« 


^^ 


■c^ 


z± 


? 


i 


flute, 
shade, 
deep 
ne; 


Whose  tone    seems  breath-ing  mournful  -  ness       or        glee. 

And  hap  -  py  mur  -  murs  run-ning      thro'       the     grass 

Where  sud  -    den  spark  -  les   and  blue     gleams    be  -  tray 

Si     -  lent      they  seem     yet  each  to        thought  -  ful  -  eye. 


E'en  as         our 

Tell  that      thy 

Their  wind  -  ings 

Glows  with     mute 


^^.=^=•3-5 


^ 


2^ 


1==t 


^P^^^^ipi 


^=^^. 


hearts  may  be,  our  hearts  may 

foot  -  steps  pass,  thy  foot  -      steps 

to           the  day,  windings  to  the 

po    -     e    -  sy,  mute  po  -       e    - 


be,  Whose  tone 

pass,  And      hap 

day.  Where  sud 

sy,  Si    -     lent 


py 

den 


they 


breath  -  ing  mourn  ful-ness  or 
mur    -    murs    run-ning  thro'  the 
spark  -  les   and  blue  gleams  be- 
seem,    yet   each    to  thoughtful 


glee.  E'en   as    our  hearts  may 

grass  Tell  that  thy  foot  -  steps 

tray  Their  windings  to     the 

eye  Glows  with  mute  po  -  e 


be.     E'en      as 
pass.  Tell       that 
day.  Their    wind 
sy,     Glows    with 


our  hearts 

thy  foot 

ings  to 

mute  po 


may  be. 

steps  pass. 

the  day. 

e      -  sy. 


Jt=!= 


^^^ 


: cJrzz:. 


X 


X 


-^^    If- 


24 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  Old  Songs. — There  are  no  songs  like  the  old 
songs.  In  ancient  times,  that  is  to  say,  in  the  half- 
Xorgotten  days  of  our  youth,  a  species  of  song  existed 
which  exists  no  more.  It  was  not  as  the  mournful 
ballads  of  these  days,  which  seem  to  record  the 
gloomy  utterances  of  a  strange  young  woman  who 
has  wandered  into  the  magic  scene  in  "  Der  Frei- 
schutz,"  and  who  mixes  up  the  moanings  of  her  pas- 
sion with  descriptions  of  the  sights  and  sounds  she 
there  finds  around  her.      It  was  of  quite  another 


stamp.  It  dealt  with  a  phraseology  of  sentiment 
peculiar  to  itself,  a  "patter,"  as  it  were,  which  came  to 
be  universally  recognized  in  drawing  rooms.  It  sf>oke 
of  maidens  plighting  their  troth,  of  Phillis  enchant- 
ing her  lover  with  her  varied  moods,  of  marble  halls 
in  which  true  love  still  remained  the  same.  It 
apostrophized  the  shells  of  ocean;  it  tenderly  de- 
scribed the  crises  of  a  particular  heroine's  life ;  it 
told  of  how  the  lover  o!  pretty  Jane  would  have  her 
meet  him  in  the  evening.     Well,  all  the  world  was 


SILENCE!  SILENCE 


^ 


fT^^ 


1.  Si  -lence, 

2.  Si -lence, 

3.  Soft-Iy, 


si  -  lence,    make    no     noise    nor        stir, 

si  -  lence,    make    no     noise    nor        stir, 

soft  -   ly,       light  -  ly,     gent  -   ly       tread. 


Si  -  lence, 
Si  -  lence. 
Soft  -  ly. 


si  -  lence, 
si  -  lence, 
soft   -   ly. 


make   no  noise  nor     stir,     For        in    yon  bow  -  er       there    a  -  bove.      Sleeps  my  gen  -  tie 
make   no  noise  nor     stir,     For       na  -  ture  lists   with      anxious   ear,  Her  gentle  slumb'ring 

light  -  ly,  gent  -  ly    tread;  And      ere    the  break  of      wakening   day,  Soft-  ly,  light  -  ly. 


la  -  dy  love;  Silence, 
breath  to  hear ;  Si-lence, 
move  a  -  way ;    Soft-ly, 


si  -    lence,     make    no  noise  nor   stir.    That   in    peace,  that  in 

si  -    lence,     make    no  noise  nor   stir;    Soft    in   peace,  soft   in 

soft  -  ly,  light  -  ly,  gen  -  tly  tread ;  Rest  in   peace,  rest   in 


peace,  she   may     slum  -  ber  sweet  -  ly       on.  That    in    peace,  that    in   peace      she      sleep, 
peace,  slum-ber,      fair   one,  sweet  -  ly        on,   .Soft     in    peace,  soft     in   peace,   sleep       on. 
peace,  slumb'ring  maid  -  en,  love     of     mine.  Rest    in    peace,  rest     in   peace,     fare  -   well. 


content  to  accept  this  conventional  phraseology,  and, 
behind  the  paraphernalia  of  "enchanted  moonbeams," 
and  "fondest  glances,"  and  "adoring  sighs,"  per- 
ceived and  loved  the  sentiment  that  could  find  no 
simpler  utterance.  Some  of  us,  hearing  the  half-for- 
gotten songs  again,  suddenly  forget  the  odd  language. 
and  the  old  pathos  springs  up  again  as  fresh  as  in  the 
days  when  our  first  love  had  just  come  home  from 
boarding-school ;  while  others,  who  have  no  old-stand- 
ing acquaintance  with  these  memorable  songs,  have 


somehow  got  attracted  to  them  by  the  mere  quail. tness 
of  their  speech  and  simplicity  of  their  airs. — Black. 
Ol'R  imconsciousness  is  no  proof  of  the  absence  of 
sound.  There  are,  doubtless,  sounds  in  Nature  ol 
which  we  have  no  conception.  Could  our  sense  be 
(juickened,  what  celestial  harmony  might  thrill  us! 
Professor  Cooke  beautifully  says:  "The  very  air 
around  us  may  be  resounding  with  the  hallelujahs  of 
the  heavenly  host,  while  our  dull  ears  hear  nothing 
but  the  feeble  accents  of  our  own  broken  prayers." 


FRAXKLIX-SQUARE   SONG    COLLECTION. 


25 


i 


TWICKENHAM   FERRY. 


± 


Theo.  Marzials.  Carl  Matz  Arr. 


^ 


iVi?/  tooj'ast. 

1 .  O  -  hoi  -yeho,  Hoyeho,\Vho's  for  the  ferry  ?  The  briar's  in  the  bud,  and  the  sun's  going  down,  And  I'll 

2.  O  -  hoi  -  ye-ho,  Hoyeho,  "I'm  forthe  ferry,  The  briar'sin  the  bud,  and  the  sun's  going  down,  And  it's 

3.  Ohoiyeho,  Ho !  you're  too  late  forthe  ferry,  The  briar's  in  the  bud,  and  the  suns  going  down,  And  he's 


mmM 


''^^r 


^i^4 


I5i=s: 


$ 


Rj^-^- 


m      ^  d 1 K-p*-  -»-T — K-P*-«t— ; — K-^  d  •  " — N-n-p — wr 


s^ 


N- 


tr— t 


P   '     'P         'P         .'    u 

row    ye  so  quick,  and  I'll  row  ye    so    steady.  And 'tis  but  a     penny   to  Twickenham  town.    The 
late    as  it    is,    and  I      haven't      a     penny,  And  how  shall  I  get  me  to  Twickenham  town  ?"She'd 
not  rowing  quick  and  he's  not  rowing  steady  ,You'd  think  'twas  a  journey  to  Twickenham  town.  "O  - 

-^  -^•-  t\    \ 


l=M 


~bt:fc 


^i 


K-^ 


-^ 


^^^MSidmi 


V 


3 


^ 


^53E3±« 


5^E^ 


ferryman's  slim  and  the  ferryman's  young.  And  he's  just  a  soft  twang  in  the  turn  of  his  tongue,  And  he's 
a  rose  in  her  bonnet,  and  oh  !  shelook'd  sweet  As  the  little  pink  flower  that  grows  in  the  wheat.  With  her 
hoi,  and  O  -  ho,"  you  may  call  as  you  will.  The  moon  is  a-ris  -  ing      on        Petersham  Hill.  And  with 


kJ'^fP[[C;i£fea|j^i 


HS^ig: 


f^— - 


frf-^f'^-'^^'lj^f^^^a 


fl 


JIIIS 


p     -  •  'p        'U     .     '  > 

fresh   as   a    pip  -  pin  and  brown  as  a    berry,  And      'tis    but  a    pen  -  ny  to  T  wick -en- ham  town, 
cheeks  like  a  rose  and  her   lips   like  a  cherry,  "And  sure  and  you're  welcome  to  Twickenham  town." 
love   like  a  rose   in  the    stern   of  the  wherry,  There's  danger  in  cross-ing  to  Twick- en -ham  town. 


e^h  r •  ^r_r^ 


y-g'- 


Chorus. 


The  ferryman's  slim,  and  the  ferryman's  young,  and  he's  just  a  soft  twang  in  the  turn  of  his  tongue ;  And  he's 

[  fresh  as  a  pippin,  and 


CODA.  After  last  verse. 


U   '    'U       'P 

brown  as  a  berry.  And  'tis  but  a  penny  to  Twickenham  town.  Ohoiyeho,  Hoyeho,  Ho-  ye  ho.  Ho! 


■26 


FRANKLIN-SQUARE   SONG    COLLECTION. 


A  SUFFICIEN  PLY  accurate  detinitiou  of  music  for  our 
purpose  is  that  it  is  "  an  agreeable  succession  of  pleasing 
and  harmonious  sounds."  Three  essential  elements 
<inter  into  its  composition — rhythm  or  accent,  power, 
and  tone ;  or  measure,  (juantity,  and  quality.  The  first 
two  seem  t  j  satisfy  the  untutored  savage,  whose  tom- 
tom and  Indian  drum  possess  no  other  musical  quality 
than  a  harsh  sonorousness,  whose  monotony  is  only  va- 
ried l)y  t  he  stronger  or  feebler  beat  given  by  the  perform- 
er. As  we  rise  in  the  scale  of  being  from  New  Zealander 
to  the  man  of  culture  and  refinement,  a  Beethoven 
becomes  not  only  a  possibility,  but  a  necessity;  it  is  no 
greater  stride  from  the  barbaric  death  chant  to  the 
Seventh   Symphony  than  from  the  infant    stumbling 


over  the  alphabet  to  a  Demosthenes  or  a  vShakespeare 
The  influence  of  music  in  past  ages  and  among  by-gone 
peoples  it  is  difficult  now  to  estimate ;  but  it  has  gone 
hand  in  hand  with  intellectual  and  aesthetic  culture, 
and  has  ever  been  reckoned  a  divine  art,  an  acknowl- 
edged force  in  moulding  character  and  governing  men. 
Radan  relates  a  curious  Hindoo  legend  celebrating  the 
power  of  music;  Men  and  animals  move  in  harmony 
with  the  musician's  wand,  while  all  inanimate  nature 
obeys  the  influence  of  music  composed  by  the  god 
Mahedo  and  his  wife  Parlutea.  In  the  reign  of  Akbar 
a  famous  singer  sang  a  "  raga,"  consecrated  to  the  night, 
in  open  day.  Immediately  the  sun  was  eclipsed,  and 
darkness  spread  as  far  as  the  voice  was  heard.    There 


ONCE  AGAIN,  O  BLESSED  TIME. 

^ \ — I — P*!-^,-^ — \ — J  ..   , — \ — ^ 


Wm.  Bright. 
Arthur  Sullivan. 


[  Christmas  Hymn.  ]        | 

1.  Once  a -gam,   O       blessed     time, 

2.  Once  a  -  gain    the    Ho  -  ly  Night 

3.  Welcome  Thou  to  souls     a  -  thirst, 

4.  Yea,  if    oth  -  ers  stand    a   -  part, 

5.  So      we  yield  Thee  all    we    can. 


Thankful  hearts  embrace     thee  : 
Breathes  its  blessing    ten  -  der ; 
Fount  of    end  -  less  pleas  -  ure ; 
We     will  press  the    near  -  er ; 
Wor  -  ship,  thanks,  and  blessing ; 

^  -m-  -m-  ^  -f^.    -^2- 


If     we     lost 
Once  a   -  gain 
Gates  of    hell 
Yea,  O     best 
Thee  true  God, 


thy 

the 
may 

fra  - 
and 


£ 


^-r-  j*3is- 


m^ 


I    I     I 


I 1 


t=t: 


:t=: 


^=d=:i 


i^m^^m^^^m^ 


m-- 


fes  -    tal   chime,  What 
Man  -  ger   Light  Sheds 
do      their  worst.  While 
ter  -    nal  Heart,  We 
Thee  tarue    Man,   On 


coald  e'er  re  -  place 
its  gen  -  tie  splen 
we  clasp  our  treas 
will  hold  Thee  dear 
our  knees   con  -  fess    ■ 


L 

dor ; 

ure : 

-  er ; 

i"g; 


Change  will  dark  -  en  many     a      day, 
O     could  tongues  by      an  -  gels  taught 
Wei  -  come,  though  an     age    like     this 
Faith  -  ful     lips  shall    an  -  swer  thus 
While   Thy  birth-day   morn   we     greet 


Many  a  bond  dis  -  sev 
Speak  omr  ex  -  ul   -  ta   - 
Puts  Thy  name  on     tri 
To     all    faithless  scorn 
With  om-  best   de  -  vo 


er:    Many   a    joy  shall  pass  a  -  way.   But  the  "  Great  Joy  "  nev  -  er. 
tion,  in  the  Virgin's  Child  that  brought  All  man  -  kind  sal  -  va  -  tion ! 

al,    And  the  truth  that  makes  our  bliss  Pleads  against  de  -  ni    -   al. 

ing,  "  Je  -  sus  Christ  is  God  with  us.    Born  on  Christmas  mom  -  ing. 

tion.    Bathe  us,   O  most  true  and  sweet !   In   Thy  mercy's     o   -    cean. 


was  another  raga  which  burned  him  who  dared  to  sing 
it.  Akbar,  desiring  to  make  trial  of  it,  ordered  a  mu- 
sician to  sing  this  song  while  plunged  up  to  the  neck 
in  the  sacred  river  of  Jumna.  In  vain  :  the  unfortunate 
■singer  became  a  prey  to  the  flames.  If  these  ancient 
legends  convey  no  other  lesson,  they  indicate  a  profound 
and  wide-spread  conviction  of  the  power  of  music. 
Leaving  an  atmosphere  that  savors  of  fable,  it  is  a 
matter  of  record  that  Alexander  the  Great  was  roused 
to  fury  by  the  Phrygian  and  calmed  by  the  Lydian 
melodies  of  Timotheus.  It  is  also  related  that  an  in- 
surrection in  Sparta  was  quelled  by  Terpander,  who 
sang  skillfully  to  the  accompaniment  of  his  harp.  Our 
amusing   Radan  questions   the    wisdom,  however,  of 


arming  the  police  of  to-day  with  flutes  and  guitars  as 
means  of  preserving  the  peace.  We  know  what  mir- 
acles of  daring  have  been  wrought  by  the  proscribed 
volcanic  "  Marseillaise."  Nor  was  the  French  general 
far  wrong  when  he  reported  :  "  I  have  won  the  victory. 
The  '  Marseillaise'  commanded  with  me."  Who  shall 
say  that  Arndt's  song,  "  What  is  the  German  Father- 
land ?  "  had  not  as  much  to  do  with  the  unification  of 
his  country  as  Bismarck's  blood  and  iron  ?  In  our 
own  land,  in  this  day  and  generation,  a  Roman  Catholic 
priest,  who  had  been  asked  to  explain  the  reason  of  the 
rapid  and  extraordinary  spread  of  his  religion,  an- 
swered, with  more  frankness  than  reverence  for  dogma, 
"It  is  the  blessing  of  God  on  good  music." — Gray. 


FRANKLIN-SQL  ARE   SONG    COLLECTION. 


27 


ElDUCArif>N. —  \Vlien  a  boy  I  was  very  fond  of  mu- 
BC,  and  am  so  now  ;  and  it  so  happened  that  I  had  the 
opportunity  of  hearing  much  good  music.  Among 
other  things  I  had  abundant  opportunities  of  hearing 
that  great  old  master,  Sebastian  Bach.  I  remember 
perfectly  well — though  I  knew  nothing  about  music 
then,  and,  I  may  add,  know  nothing  whatever  about 
it  now — the  intense  satisfaction  and  delight  which  I 
had  in  listening  by  the  hour  together  to  Bach's  fugues. 
It  is  a  pleasure  which  remains  with  me,  I  am  glad  to 
think,  but  of  late  years  I  have  tried  to  find  out  the  why 
and  wherefore,  and  it  has  often  occurred  to  me  that  the 
pleasure  in  musical  compositions  of  this  kind  is  essen- 
tially of  the  same  nature  as  that  which  is  derived  from 
pursuits  which  are  commonly  regarded  as  purely  intel- 


lectual. I  mean  that  ihe  source  of  pleasure  is  exactly 
the  same  as  in  most  of  my  problems  in  morphology — 
that  you  have  the  theme  in  one  of  the  old  master's 
works  followed  out  in  all  its  endless  variations,  always 
appearing  and  alwaj'S  reminding  you  of  unity  in  variet\'. 
So  in  painting;  what  is  called  truth  to  nature  is  the 
intellectual  element  coming  in,  and  truth  to  nature  de- 
pends entirely  upon  the  intellectual  culture  of  the  per- 
son to  whom  art  is  addressed.  If  you  are  in  Austra- 
lia, you  may  get  the  credit  for  being  a  good  artist — I 
mean  among  the  natives — if  you  can  draw  a  kangaroo 
after  a  fashion.  But  among  men  of  higher  civilization 
the  intellectual  knowledge  we  possess  brings  its  criti 
cism  into  our  appreciation  of  works  of  art,  and  we  are 
obliged  to  satisfy  it  as  well  as  the  mere  sense  of  beauty 


COME,  OH,  COME  WITH   ME. 


Italian  Melody. 


^^^^^m 


tP-ilA^^ 


S=it 


Come,     O    come  with    me,        the      moon      is      beam  -  ing, 
2.    My     skiff       is      by     the   shore,      she's     light     and  free, 


Gome,     O   come  with 
To  ply   the   feathered 


the     stars        are      gleam  -  ing  ;  All        a  -  round,  a  -  bove, 
is       joy  to  me ;  And  while  we  glide    a  -  long. 


with        beau    -    ty 
o'er  the  dark       blue 


m 


fe^EEf 


fcziff: 


n 


5^=g-g=g 


^^r^P^i^MTO 


^ 


Tra       la      la      la 
Tra       la      la      la 


teem 
sea, 


ing;     Moon  -  light      hours    have 
We'll  sing  our       sweet  -  est 


joys      for 
mel  -    o 


dy. 


in  color  and  in  outline.  And  so  the  higherthe  culture 
and  information  of  those  whom  art  addresses,  the  more 
exact  and  precise  must  be  what  we  call  its  "  truth  to 
nature."  If  we  turn  to  literature  the  same  thing  is 
true,  and  you  find  works  of  literature  which  may  be 
said  to  be  pure  art.  A  little  song  of  Shakespeare  or 
of  Goethe  is  pure  art,  although  its  intellectual  content 
mav  be  nothing.  A  seiies  of  pictures  is  made  to  pass 
before  your  minds  by  the  meaning  of  words,  and  the 
effect  is  a  melody  of  ideas.  And  if  you  will  let  me 
for  a  moment  speak  of  the  very  highest  forms  of  litera- 
ture, do  we  not  regard  them  as  highest  simply  because 
the  more  we  know  the  truer  they  seem,  and  the  more 
competent  we  are  to  appreciate  beauty  the  more  beau- 
tiful they  are  ?     No  man  ever  understands  Shakespeare 


until  he  is  old,  though  the  youngest  may  admire  him ; 
the  reason  being  that  he  satisfies  the  artistic  instinct  of 
the  youngest  and  harmonizes  with  the  ripest  and  rich- 
est experience  of  the  oldest.  It  is  not  a  question 
whether  one  order  of  study  or  another  should  pre- 
dominate, but  rather  of  what  topics  of  education  you 
shall  select,  combining  all  the  needful  elements  in  such 
due  proportion  as  to  give  the  greatest  amount  of  food 
and  support  and  encouragement  to  those  faculties  which 
enable  us  to  appreciate  truth,  and  to  profit  by  those 
sources  of  innocent  happiness  which  are  open  to  us, 
and  at  the  same  time  to  avoid  that  which  is  bad  and 
coarse  and  ugly,  and  to  keep  clear  of  the  multitude  of 
pitfalls  and  dangers  which  beset  those  who  break 
through  the  natural  or  moral  laws. —  T/ios.  H.  Huxley. 


28 


FRANKLIX-SQUARE   SONG    COLLECTION. 


Military  Music. — In  the  seventeenth  century, 
we  find  the  hautboy,  an  instrument  of  German  origin, 
given  to  the  dragoons  and  musketeers  of  the  guard. 
We  are  indebted  to  the  Hungarians,  and  through 
them  to  the  eastern  nations,  for  the  kettledrum,  the 
bassoon,  and  the  true  flute ;  for  the  tamborine  to  tlie 
Italians;  the  modern  horn,  to  the  Hanoverians;  for 
the  cymbals  and  big  drum,  to  the  Turks.  The  adop- 
tion of  these  last  two  instruments  and  the  kettledrums, 
gave  the  name  of  Turkish  music  to  certain  military 
music.  The  combination  of  their  instruments  with 
the  cavalry  trumpet  constituted,  at  the  beginning  of 
the  eighteenth  century,  the  entire  musical  scheme  of 
the  troops.  Then  each  battalion,  each  company,  had 
its  particular  and  distinctive  music.     The  drum,  the 


tife,  the  horn,  the  bassoon,  the  big  drum,  and  the 
cymbals  belonged  particularly  to  the  infantry ;  the 
trumpet,  the  hautboy,  the  bagpipe,  the  kettledrum  to 
the  cavalry.  An  ordinance  in  France,  in  1766,  ap- 
pointed a  band  of  music  to  each  regiment.  It  was 
composed  of  all  the  insliunients  which  then  belonged 
to  the  companies  or  sections  of  troops.  The  clarionet, 
invented  in  the  beginning  of  the  eighteenth  century, 
by  an  inhabitant  of  Nuremburg,  was  not  received  in- 
to the  military  band  of  France  before  the  year  1755. 
The  serpent,  invented  in  1590,  the  triangle,  which 
was  the  cymbal  of  the  Middle  Ages,  and  the  trom- 
bone, entered  successively  into  the  different  corps  of 
the  army.  But  it  is  only  since  1792  that  military 
music  has  been  truly  developed.     Its  utility  has  been 


OLD  FRIENDS  AND  OLD  TIMES. 


J.  R.  Thomas. 
Per.  S.  Brainard  &  Sons. 


1 .  Thinking  of     old  times,  Hopes  ne'er  to  be.        Speaking  of     old  friends,  Far  o'er  the  sea  ; 

2.  Oh,  'mid  the   old  friends  I      no  more  see,  Is     there  a   kind  thought  Ever   for    me  ? 


m^M. 


=S^-r^^^ 


:^- 


mp-iFPfi^ 


--^ 


-f=2- 


-r  ^ 


Ett 


r^ 


L-    I     I 


-^^m 


::z2: 


=*¥^ 


i^Ui«?U 


^-=g'  I  rJ   -^mJ- 


S=^ 


Dis-tance  can  change  not  Dear  ones  like  you  ;   For-tunes  estrange    not  Hearts  that  are  true. 
If  there's  but  one  hope.  One  wish  though  vain,  If  there's  but  one    sigh,  I'll     not  com-plain. 


:;^=2 


f=i:f 


-p-  -TT- 


22; 


«^ 


*^T?g=i^~ 


twi  -light  Fond  thoughts  will  stray.  Back  to  the 
twi  -  light  Fond  thoughts  will  stray,  Thinking  of 


old     homes,  Homes  far  a  -  way ! 
old    friends.  Friends  far  a  -  way ! 


a  frequent  theme  of  discussion.  Who  does  not  know 
the  grand  effect  of  a  national  air  played  by  a  military 
band  previous  to  an  engagement  ?  The  very,  coward 
is  fired  with  enthusiasm  by  the  strains  of  .some  home 
or  national  melody.  There  is  no  feeling  implanted 
in  man's  nature,  which  so  veritably  deserves  the  name 
of  instinct  as  a  love  of  music.  To  the  soldier,  es- 
pecially in  time  of  war,  it  is  grateful  beyond  measure. 
On  his  weary  march,  it  takes  from  his  fatigue;  in  dis- 
tant climes  it  carries  him  back  to  his  home;  in  the 
hour  of  battle  it  arouses  ambition  and  incites  to  noble 
deeds  of  courage.  Indeed,  music  is  one  of  the  mo.st 
beneficial  iddc  nda  to  military  improvement. — Moore. 


The  proprietor  of  the  Cyfarthfa  iron  works,  Wales, 
organized  among  his  men  a  brass  band,  which  met 
for  practice  once  a  week,  throughout  the  year.  They 
numbered  sixteen  instruments.  A  visitor  says,  he 
heard  them  perform  the  overture  to  Zampa,the  Caliph 
of  Bagdad  and  FraDiavolo,  with  a  nnmberof  waltzes, 
polkas,  etc.  They  took  up  the  time  well,  and  the 
instruments  preserved  it  with  spirit  and  accuracy. 
The.se  men  were  in  the  mountains  of  Wales  and  had 
never  listened  to  other  bands.  Their  habits  and  man- 
ners, appeared  to  have  been  improved  under  the  soft- 
ening influence  of  music,  which,  from  a  doubtful  and 
difficult  experiment,  had  become  a  pleasant  pastime. 


FKAXA'LIiV-SQLAKE   SOiVG    COLLECTION. 


29 


MY  AIN  COUNTRIE. 


Tsrisr  !^-i—  1^  N   I — ^~^~^ 


M.  A.  Leb. 


s±gE£:^EfiE*Ei 


I      am  far    frae  my  hame,an' I'm  wea-ry     aftenwhiles,  Forthelang'd-forhame-bringing,an'my 
I've  his  gude  word  of  promise,  that  some  gladsome  day  the  King  To  his  ain  roy-al  pal-ace,    his 
He  is  faithfu' that  hath  promised,  an' he'll  surely  come  again.  He'll  keep  his  tryst  wi' me,   at  what 

.-r  -r  -r--g:--r-  -r-g--^-^-:j?--:gL 


i 


=^ 


Fa  -  ther's  wel  -  come  smiles, 
ban  -  ished  hame,  will  bring; 
hour        I  din    -     na       ken; 


5^=^t=^F=S 


^ 


'   I'll 


1/ 

An 
Wi 
But 


he 


ne'er         be  fu'    con  -  tent  un 

een,  an'         wi'     heart        run 

bids  me    still        to      wait,         an' 


s 


til       my  een      do   see       The  gowd  -  en  gates  of  heav'n,  an'  my  ain 

owre  we    shall  see     "The  King     in     his  beau-  ty,"  an'    our  ain 

read  -  y  aye      to     be,       To  gang  at  on  -   y    mo-ment   to      my  ain 

j^    -P-  -^'   -P-  -r: -r  1^  ,-f-     -p:l--gi--g-_^ 


coun-tne. 
coun-trie. 
coun-trie. 


i 


i^ 


:fr-^- 


E 


'^'- 


^HlJ^JtL 


"^^ 


SP< 


s=fe 


^ 


^^ 


^ 


m 


at=S: 


The      earth       is   fieck'd       wi'    flow  -  ers,       mon     -     y    -     tint-  ed,       fresh,       and    gay; 
My       sins         hae  been  mon  -  y,         and         my         sor  -  rows       hae        been   sair ; 

So         I'm     watch- ing         aye,   and    singing    o'  my         hame  as  I       wait, 


-» — F- 


r'  t-*- 


S5 


M 


m=9 


But     these 
For       his 
God  gie  his 


The      bird  -   ies  war  -   ble  blithely,       for       my     Fa-ther    made   them  sae; 
But      there  they'll  nev  -  er   vex  me,       nor  be     re  -   mem  -  bered  mair. 

For  the  soun'- ing     o'        his  foot -fa'       this  side  the     gowd-  en   gate. 


r     S  L5 


sichts  an'  these  soun's  will  as  naethingbe  to  me,  When  I  hear  the  angels  singing  in  my  ain    countrie. 
bluid  hath  made  me  white,  and  his  hand  shall  dry  my  e'e,  When  he  brings  me  hame  at  last  to  my  ain  countrie. 
grace  to   ilk  ane    wha         lis-tens  noo  to  me,  That  we  a' may  gang  in  gladness  to  our  ain  countrie. 


30 


FRANKLINSQCARE   SONG    COLLECTION. 


Mechanical  Music. — The  Black  Forest  is  fa- 
mous for  these  mechanical  organs — orchestrions,  as 
they  are  called — and  in  some  instances  they  are 
brought  to  great  perfection.  There  is  a  shop  close  to 
the  exhibition,  bearing  the  name  of  Lamy  Sohne,  full 
of  clocks  and  singing-birds  and  orchestrions,  where 
you  may  pass  half  an  hour  in  a  fairy-land  of  surprises 
and  all  kinds  of  mechanical  music.  One  morning 
I  went  in  with  an  old  lady  and  gentleman — the  lat- 
ter a  grave  dignitary  of  the  church  of  England. 
"A  very  tiring  place,"  said  the  old  lady;  "all  up 
and  down  hill ;  the  only  fault  I  find  with  the  Black 


Forest.  Couldn't  they  level  it,  my  dear?" — to  her 
husband — "  or  build  viaducts  or  something  ?  Or,  at 
the  very  least,  couldn't  they  organize  pony  chaises 
all  over  the  country — like  those,  you  know,  that  we 
found  so  useful  at  Bournemouth  last  year?  "Take 
a  chair,  my  love,"  said  the  old  gentleman  sympa- 
thetically, without  committing  himself  to  an  opinion. 
And  he  placed  one  for  her,  while  the  young  man  in 
the  shop  (whose  jolly,  good-natured  face  and  broad 
grin  delighted  one  to  behold)  wound  up  the  orches- 
trion. The  old  lady  sat  down  somewhat  heavily  from 
sheer  exhaustion,  and  immediately  the  chair  struck 


HEARTS  AND 


HOMES. 


J.  Blockley. 


^fagpi:jV-^^-i#P?  U\^\^J^ 


1.  Hearts  and  homes, sweet  words  of  pleas-ure,   Mus  -  ic  breath  -  ing     as     ye    fall;     Mak  -  ing 

2.  Hearts  and  homes, sweet  words  re  -  veal-ing.    All   most  good   and    fair    to     see;      Fit  -  ting 


each       the     oth  -  er's     trea  -  sure,  Once      di  -    vid 
shrines  for     pur  -  est      feel  -  ing.  Tern  -  pies    meet 


ed,    los  -  ing 
to    bend    the 


all.       Homes,    ye 
knee.  In  -  fant 


^^ 


=t==t 


^ 


V    v    V 


feS: 


mt 


9 


^4^ 


f 


g; 


£ 


i 


1^ 


w=^ 


1K 


^  ^  ^    ^  ^ 

may        be    high     or      low  -  ly,  Hearts    a  -  lone       can   make  you      ho  -    ly;     Be        the 
hands  bright  gar  -  lands  wreathing,  Hap  -  py      voi  -    ces       in  -  cense  breathing,    Em-  blems 


^-     -^ 


-m — m- 


t=: 


f%-: 


^ — P — I*  if — f* 


m 


r    r  y  f 


^    U    l<: 


'^    p 


A 


i-^4J_ifiT-i^fff 


e=a: 


f 


-W 


dwell-ing  e'er       so      small,  Hav  -  ing      love,       it      boast  -  eth        all. 

fair  of  realms     a   -    bove,      P'orlove       is     heav'n,   and  heav'n    is         love. 


m 


*^: 


J-^ 


hf'-^hr-r 


I 


S 


^rt: 


^ 


up  the  lively  air  of  "The  Watch  on  the  Rhine," 
with  a  decidedly  martial  influence  upon  its  occupant. 
She  sprang  from  her  seat  as  if  it  had  been  a  gridiron, 
and  asked  her  husband  reproachfully  if  he  was  amus- 
ing himself  at  her  expense,  and  whether  her  age  was 
not  sufficient  to  secure  her  from  practical  joking. 
"Dear  me!"  cried  he,  in  amazement,  looking  at  the 
offending  chair  as  though  he  expected  it  to  walk  a- 
way  of  Its  own  accord.  "What  a  musical  nation  these 
Black  Foresters  are  !  It's  music  everywhere  !  The 
very  chairs  you  sit  down  upon  are  full  of  it."  At  this 
moment  the  orchestrion  struck  up  an  operatic  selec- 
tion, and  the  old  lady  recovered  her  amialiilitv  in 


listening  to  a  really  fine  instrument.  I  left  them  mar- 
veling at  all  the  birds  and  boxes,  and  thinking  each 
as  it  came  more  wonderful  than  tbe  last. — Argosy. 
The  influence  of  music  on  the  young,  the  ignorant 
and  depraved  is  not  perhaps  sufficiently  regarded. 
Watch  the  crowd  that  collects  around  the  street  or- 
ganist. His  first  note  is  the  signal  for  all  hastily  to 
assemble.  The  care-worn  and  furrowed  cheek  is  at 
once  lighted  up  with  a  pleasant  smile.  The  beggar 
forgets  his  penury,  the  laborer  his  toil,  the  boy  with  sat- 
chel at  his  back,  forgets  the  hour  for  school.  The  tear 
in  the  nursery  is  fjuickly  followed  by  a  brigtit  and  joy- 
ous smile,  as  Biddy  hastens  with  her  charge  to  the  door. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


31 


THE   ROSY   CROWN. 


C.  M.  Von  Wbber. 
Words  by  D.  Dutton. 


^r^7"J 


1.  A      ro  -   sy  crown  we  twine  for  thee, Of  Flo  -   ra's   rich -est      treas 

2.  The  myr  -  tie,  thyme,  and  eg  -  Ian  -  tine,  One  blend  -  ed  wreath  dis  -  clo 


ure,    We 
ses ;   And 


lead  thee  forth  to  dance  and  glee,  To  mirth  and  youthful  pleas  ure.  j    foUp  r\    fake    the 

bid   their  frangrant  breath  combine  With  these  em-blushing  ro    -    ses.  j  ' 


ro  -  sy,  the  ro-  sy         crown,  Take,     O     take     the     ro    -     sy,  the  ro  -  sy  crown. 


m 


^^- 


^ 


^^^  f  g 


^^m 


WW~W 


s 


\ Y 


=1*2=^ 


3.  We  bade  the  fairest  flowers  that  grow, 
Their  varied  tribute  render. 
To  shine  above  thai  brow  of  snow, 
In  all  their  sunny  splendor. 
Take,  O  take,  etc. 


4.  Then  deign  to  wear  the  wreath  we  twine. 
Thy  beauteous  ringlets  shading; 
And  be  its  charms  a  type  of  thine, 
In  all  except  their  fading. 
Take,  O  take,  etc. 


i 


THREE  CHILDREN  SLIDING 


A.  D.  1633. 


i^ 


^^^ 


^ 


W^^ 


"i^^^ 


:tt«: 


Not  too  Fast.   ^ 

1.  Three  child  -  ren    slid-  ing       on        the     ice, 

2.  Now     had    these  chil  -  dren  been       at   home, 

3.  Vou       pa  -  rents    all      that  chil  -  dren  have. 


All 
Or 
And 


on       a       sum  -  mer's    day,       As 

slid  -  ing       on      dry     ground,  Ten 

you,    too,     that     have    none.       If 


^ 


H^ — V — )^ — k— ^ ^-^ — ^ ■ H fc^— *- 


N  .  rtt. 


it         fell       out  they      all 

thous -  and    pounds         to       pen 
you    would  hare        them    safe 


m 


M 


fell       in, 
ny       one, 
a  -  broad, 

It 


The 

They 

Pray 


m 


rest      they     ran         a    -   way 
liad      not        all      been    drown'd: 
keep    them     safe        at     home. 


i 


£ 


m 


m 


u=^ 


•  Grace  notes  in  Chorus  ar«  the  original  music  in  opera  cf'Der   Kreischutz,"  from  which  this  is  taken. 


32 


FRANKLIN-SQUARE   SONG   COLLECTION. 


Nursery  Rhymes. — Many  of  these  productions 
have  a  very  curious  history,  but  cannot  always  be 
fully  traced.  Some  of  them  probably  owe  their 
origin  to  names  distinguished  in  our  literature;  as 
Oliver  Goldsmith,  for  instance,  is  believed  in  his 
earlier  days  to  have  written  such  compositions.  Dr. 
E,  F.  Rimbault  gives  us  the  following  particulars  as 
to  some  well-known  favorites :  "  Sing  a  Song  of  Six- 
pence" is  as  old  as  the  sixteenth  century.  "  Three 
Blind  Mice"  is  found  in  a  music-book  dated  1609. 
"The  Frog  and  the  Mouse"  was  licensed  in  1580. 
"Three  Children  Sliding  on  the  Ice"  dates  from 
J633.  "London  Bridge  is  Broken  Down"  is  of 
unfathomed  antiquity.  "  Girls  and  Boys,  Come  out 
!to  Play "  is  certainly  as  old  as  the  reign  of  Charles 


II.;  as  is  also  "  Lucy  Locket  lost  her  Pocket,"  to  the 
tune  of  which  the  American  song  of  "Yankee  Doo- 
dle" was  written.  •  Pussy  Cat,  Pussy  Cat,  where  have 
you  been?"  is  of  the  age  of  Queen  Bess.  "Little 
Jonny  Horner"  is  older  than  the  seventeenth  century. 
"The  Old  Woman  Tossed  in  a  Blanket"  is  of  the 
reign  of  James  XL.  to  whom  it  is  supposed  to  allude. 
Wesley  saw  a  difference  between  loud  talking 
and  screaming.  To  a  screamer  he  once  said :  "  Scream 
no  more  at  the  peril  of  your  soul.  God  now  warns 
you  by  me,  whom  he  has  set  over  you.  Speak  as 
earnestly  as  you  can,  but  do  not  scream.  Speak 
with  all  your  heart,  but  with  a  moderate  voice.  It 
was  said  of  our  Lord,  'He  shall  not  cry:'  the  word 
properly  translated  means,  '  He  shall  not  scream.'  " 


BRIGHTLY. 

Allegretto. 


f 


From  Haydn's  "Seasons." 


i^9^^^^N=^; 


r 

1.  Bright  -  ly, 

2.  O     -      dors 

3.  Faint  -    ly. 


bright  -  ly         gleam   the  sparkling    rills ; 

o  -    dors         load     the  sum  -  mer     air, 
faint  -    ly         sounds  the  dis  -  tant    fall; 


Sum  -  mer, 
Mus   -    ic. 
Light  -   ly. 


sum  -  mer 
mus  -   ic 
light  -  ly 


sleeps  on  ver  -  dant  hills,  A  -  mid  the  shades  we  ram  - 
sweel  -  ly  ech  -  oes  there ;  And  bright-est  maids,  with  soft  - 
wood  -  land  ech  -  oes    call.      And    in    their  voice  we     seem 


bling  stray,  Where  cooling  fountains 
est  glance.  Then  join  the  song  and 
to       hear  The  tones  of  friends  once 


sport  -  ive      play. 

lead      the    dance.  |-      Peal  -   ing,  peal  -   ing  come     the  laugh  and     shout;    While 

gay       and   dear. 


=P=F=F 


fE^E^i^ 


:^ 


a 


^ 


■^      K   ^- 


fiSi?*: 


•p-       f^ 


m^^ 


"^^m^^^^m 


gai   -    ly      we  sing      till     the     old      for  -  ests  ring.  While  gai   -    ly      we  sing      till      the 


old  for-ests  ring  With  the  joy      of  our  mer  -  ry    rout,   With  the  joy    of  our  mer  -  ry     rout. 


-rvz 


FRANKLIN-SQUARE   SONG    COLLECTION. 


33 


ANGELS  EVER  BRIGHT  AND  FAIR. 

Sloivly. 


Handel. 


y^^H- 


22: 


^ 


3^ 


Tif=B- 


^: 


^^ 


^ 


ev  -  er  bright  aiK 


An  -  gels  ev  -  er  bright  and  fair,  An  -   gels     ev  -  er  bright  and  fair,  Take,  O  take  me,  Take,  O 
0:^    .-^ 


P 


Z2i:^: 


IS 


arts 


r  •  *3- 


:t«:^=f: 


^■^=*ffi 


piz^t* 


r"* 


take  me    to  your  care,  Take.  O         take  me.  Take,  O  take     me      to     your  care,       An  -  gels 


I  I 

ev  -  er  bright  and    fair,  Take,  O  take  me       to     your  care,  Take,0  take  me    to    your  care. 


^ 


-•^- 


J3 


e: 


#-=-*^ 


^^ 


S: 


t:: 


^ 


tiq^ 


•    GOLDEN  SLUMBERS  KISS  YOUR  EYES. 

Smoothly.  t^ 


Lullaby  op  17TH  Century. 


^ 


m 


3^1 


p — r~r~j^ 


--Hi— 1: 


ir-i--^ 


*=p'*3i=S= 


t»f- 


1.  Gold  -  en    slum  -  bers   kiss      your    eyes.     Smiles  a  -  wake     you     when     you    rise; 

2.  Care      is     heav  -    y,    there-  fore   sleep;    You     are    care,     and    care      must  keep; 


J5i 


M      f        f    rB. 


^ 


P   f    r- 


^^i= 


m^ 


>    r    1^ 


& 


r 


r 


fcS: 


J^-N 


.B=;b^a=itz» 


r    ■      I ^ -\ F-r—J — 


=St=HF 


-V-3- 


lul  -  la 
lul  -  la 


Sleep,  pret  -  ty     loved  ones,     do       not     cry.      And     I      will     sing       a 
Sleep,  pret  -  ty     loved  ones,     do       not     cry,      And     I      will     sing       a 


^f^:^ 


by, 

bv, 


-Jj^  .J^-r  ^ 


^^-m—^ 


JI-C 


34 


FHANA'LIX-SQLARE   SOXG    COLLECTION. 


Thk  introduciion  of  music  into  the  public  schools 
is  a  step  in  the  right  direction.  If  in  every  town  and 
village  in  the  Union  the  plan  was  as  faithfully  ;ind 
earnestly  executed  as  in  Boston  and  its  vicinity, 
already  the  great  work  would  be  almost  accom- 
plished. We  need  fresh  impetus  in  every  country 
town,  in  every  village  nestled  among  the  hills  or 
stretching  out  on  the  wide  prairies.  There  is  surely 
in  every  such  place  some  earnest  disciple  who  could 
gather  a  band  of  ten  or  a  dozen  who  should  be  a 


nucleus  for  a  musical  association.  The  influence  of 
musical  culture  which  would  result  from  such  an  as- 
sociation would  make  itself  felt  through  the  village 
church  as  w  ell  as  in  social  relations ;  Sunday  service- 
would  be  better,  and  the  best  part  of  Sunday  service 
would  get  into  the  week-days.  It  will  not  do  to 
make  the  gathering  merely  a  psalm-singing  school ; 
that  has  its  use  and  has  its  day  ot  separate  influence. 
Sacred  music,  so  called,  should  form  a  part  of  the 
practical  programme ;  but  a  little  care  and  research, 


ROLL   ON,  SILVER   MOON. 


J.  W.  Turner. 


Andante.   |        ^  |  ^ 

As    I  stray'd  from  my  cot  at  the  close  of  the  day,  'Mid  the  ravishing  beauties  of  June, 
As  the  hart  on  the  mountain  my  lov-er  was  brave.  So  no-ble  and  manly  and  clev-er. 
But,  a -las!  he  is  dead,  and  gone  to  death's  bed, —  Cut  down  like  arose  in  full  bloom 
His  lone  grave  I'll  seek  out  until  morning  appears.  And  weep  o'er  my  lover  so    brave ; 
Ah,       me !  ne'er  a-gain  may  my  bosom  rejoice.  Vox  my  lost  love  I  fain  would  meet  soon 


'Neath  a 

So 
;  And  a  - 

I'll  em- 
;  And  fond 


^-^^-^1^  ^  .-gllg-lg 


^^^^^^^^m 


-^ — -I .  ^ 


-^^ 


-^ — W^m- 


~-rzh 


jes  -  sa-mine  shade  I     es  -  pied  a     fair 
kind  and  sin  -  cere,  and  he  loved  me  full 
lone  doth  he  sleep,  while  I   thus  sad  -  ly 
brace  the  cold  sod,   and      bathe  with  my 


maid,  And  she     plain -tive-ly  sighed  to    the  moon, 
dear,    Oh,  my     Edwin,  his   e  -  qual  was  nev-arl' 
weep 'Neath  thy  soft      sil  -  ver  light,  gen-tle  moon; 
tears,  The  sweet  flow  -  ers   that  bloom  o'er  his  grave. 


lov-  ers  will  weep  o'er  the  grave  where  we  sleep,'Neath  thy  soft      sil  -  ver  light,  gen  -  tie  moon. 


-r-rr-^- 


-ej^- 


-P-:e 


p=^m- 


&=k-^V: 


3^E£ 


^ 


■^-t^- 


v-u- 


-^-^ 


1      ^  *         -  >/*-' 

on,  sil  -  ver  moon,  guide  the  trav'ler  his  way,  While  the  nightingale's  song  is  in  tune ;    I 


nev  -  er,  nev  -  er-more  with  my  true  love  will  stray   By  thy    soft      sil  -  ver  'oeams,  gentle  moon. 


--ff— «-ri 1 1 •• 


a  correspondence  with  some  musical  authority  in  our 
large  cities,  would  insure  a  judicious  selection  of  at- 
tractive music  within  the  compass  of  choirs  and 
choruses  of  even  very  moderate  ability.  The  mod- 
ifying influence  in  a  country  town  of  a  musical  asso- 
ciation conducted  on  broad,  liberal  principles  for 
even  a  single  decade,  is  incalculable.  I'olybius  was 
a  wise  man  in  remarking  that  in  Arcadia,  a  dull, 
cold  country,  music  was  essential  to  soften  the  man- 


ners of  the  inhabitants,  and  that  in  Cynetus,  wRere 
music  was  not  cultivated,  vice  prevailed  to  an  alarm- 
ing extent.  Music  will  not  hold  its  true  place  tilf,, 
through  the  length  and  breadth  of  the  land,  it  is  rec- 
ognized as  elevating  in  its  character,  capable  of  per- 
version and  misuse — as  God's  own  word  may  be  in 
the  hands  of  the  blasphemer — but  a  power  still,  infi- 
nite in  truth  and  beauty,  and  a  source  of  strength, 
encouragement,  and  inspiration  to  waiting  thousands. 


FRAXKLIN-SQUARE   SONG    COLLECTION. 


35 


IN  THE  STARLIGHT. 


a 


^^ 


1^ 


in-ft 


Stephen  Glover. 
J.  E.  Carpenter.  C.  Matz  Arr. 


«*  mJ  -^^-w^^^ 


F^ 


1.  In  the  starlight,  in     the  star-light,   let  us  wan-der      gay   and    free,   For  there's  nothing  in  the 

2.  In  the  starlight,  in     the  star-light,    at  the  day-light's  dew- y       close,  When  the  nightin-gale   is 


i^  .  '•  1  i 

day-light      half  so     dear      to   you     and    me.         Like    the   fai  -  ries   in   the  shad-ow         of    the 
sing-ing       his  last  love -song  to        the     rose;         In      the  calm  clear  night  of  summer,  when  the 

If: 


^ 


^ 


i 


'=^ft 


:P^ 


•  T".-^  r-t<  t 


^ 


^ 


)ici=te: 


1E=»: 


>— ^ 


fi.jf'-^^^ 


11  steal  a    -     lone.      And  oui 


4  d  A  s 


s 


:^=^ 


woods  we'll  steal  a    -     long,      And  our  sweetest  lays  we'll  war-ble,    for    the  night  was    made  for 
breez  -  es  soft  -  ly         play,      From  the  glit  -  ter   of    our  dwell-ing     we   will  gen  -  tly      steal    a  - 


latbf 


I 


"pf-f 


g 


g 


.F  -F 


i^cfar 


arz*: 


=z: 


>     ^^? 


a  tempo. 


4^ 


song;  When  none  are    by       to     lis  -  ten,     or     to  chide  us         in       our     glee,      In   the 

way  Where  the  silv'ry   wa  -  ters  mur-mur,  by    the  mar- gin       of       the      sea,       In   the 


m 


i 


^^ 


^^m 


r-r    ,0J^ 


m 


r  < 


^^—^ 


u^^^f^f^^^^^^^^^^^^^^mm 


star-light,     in  the  starlight,  let  us  wander      gay     and   free.  In  the  starlight,  in  the  starlight,  let  us 

star-light,     in  the  starlight,  we  will  wander    gay     and   free.  In  the  starlight,  in  the  starlight,  we  will 


wan-der,  let  us  wander,    In  the   star-light,       in  the  star-light,  let   us  wander  gay  and  free 
wan  -  der,  we  will  wander,    In  the   star-light,        in   the  star-light,we  will  wander  gay  and  free 


A 


1^-^^ 


^^=^ 


a 


i 


1 


^ 


:c± 


i£=^ 


I      I      F=F 


152=^ 


'ii=^ 


36 


FRANK'LIN-SQUARE    SONG    COLLECTION. 


Whenever  a  strike  of  dissatisfied  workmen  oc- 
curs in  any  city  of  France,  the  strikers  give  expression 
to  their  feelings  by  marching  through  the  streets  sing- 
ing the  Marseillaise.  Whenever  an  individual  in  any 
part  of  France,  suffers  wrong  at  the  hand  of  a  judge 
or  other  public  functionary,  he  takes  revenge  in  sing- 
ing, or  attempting  to  sing  the  Marseillaise.  When  the 
students  of  a  school  in  Paris  quarrel  with  their  profes- 


sor, they  drive  him  from  his  chair  as  they  sing  the  Mar- 
seillaise. In  short,  whenever  a  Frenchman  anywhere 
in  France  is  subjected  to  any  indignity  or  outrage,  or 
feels  discontented,  or  gets  highly  excited,  he  betakes 
himself  to  the  public  highway  or  private  apartment, 
where  he  sings,  or  thinks  about  singing,  the  Mar- 
seillaise. It  is  a  happy  thing  for  Frenchmen  that  they 
have  such  a  stirring  national  hymn  as  the  Marseillaise. 


WE  HAVE  LIVED  AND  LOVED  TOGETHER. 


Andantino, 


NiCOLO. 

Charles  Jeffreys. 


1.  We  have      lived  and  loved   to    -  geth  -    er    Thro' 

2.  Like  the       leaves  that  fall        a  -    round     us.       In 

3.  We  have      lived  and  loved   to  -    geth  -    er    Thro' 


^a 


-n. 


ma  -  ny  chang-ing  years.  We  have 
Au  -  tumn's  fad  -  ing  hours ;  And  the 
ma    -  ny  chang-ing     years,    We  have 


^ 


Ht=rf=^ 


ffi 


^?r=g=f? 


->-j^ 


^^ 


^^m 


:x-!i-^a^=»t 


1^^^%--^ 


#— ^ 


shared  each  oth-er's  glad  -  ness.     And         wept  each  oth  -  er's      tears. 

trai  -  tor  smiles  that  dark  -    en,  When  the    cloud  of    sor  -  row      lowers, 

shared  each  oth-er's  glad  -  ness.     And         wept  each  oth  -  er's      tears. 


I    have 

And  tho' 

And 


J^^-^^S^. 


^ 


m    (•_ 


ht-f. 


H^ 


=^-^-=^ 


6; 


^UA.\  i.,r  J  ^Ux^^^^MA 


nev  -  er      known  a         sor  -  row    That  was 
ma  -   ny     such  we've  known,  love,    Too 
let       us      hope,  the        fu  -  ture,      As    the 


long     un  -  sooth'd  by 
prone    a  -  las !      to 
past     has  been,  will 


thee,  That  was 

range.  Too 

be.  As    the 


long     un- sooth'd  by    thee, 

prone     a  -  las !    to       range,      We 

past     has   been, will    be;  I 


thy    smile  can  make  a  sum-mer  Where  darkness  else  would 
both  can  speak  of    one,    love,     WTiom  time  could  nev-er 
will  share  with  thee  thy  sor  -  rows.  And  thou  thy  joys  with 


a    sum  -  mer,  Where  dark-ness  else  would 
one,   love.         Whom  lime  could  nev-er 


m 


be,  For  thy    smile  can  make 

change.     We  both   can  speak  of 

me,  I     will    share.with  thee  thy    sor  -  rows.  And    thou    thy  joys    witli 


i3^ 


^^^*^^ 


r—^ 


t 


be. 

change. 

me. 


:|=: 


L^     1  1^      1^     •     • 


FRANKLIN-SQUARE   SONG    COLLECTION. 


37 


STARS  TREMBLING  O'ER  US. 

Andante. 


D.  M.  Mut-OCH. 


w:^ 


i 


^^ 


1.  Stars     trembling    o'er    us,  And    sun  -  set      be -fore   us,  Moun  -  tain  in     shad    ow  and 

2.  Come    not,    pale    Sor  -  row,  Flee,  flee    till      to  -  mor-row.  Rest      soft-  ly      fall  -  ing  o"er 

3.  As       the   waves  cov  -  er   The  depths  we  glide     o  -  ver,  So         let  the  past     in    for 

4.  Heav'n  shines  a  -  bove    us,  Bless    all    that   love     us, —  All        that  we     love,    in    thy 

"^     ^  ,\      0   0.0 ^-m — 0.0-0 — . 0r^0  ^  -T-  ■  ?-- 


for  -  est      a  sleep,    , 

^  /  r  ^  if  Down  the  dim     riv  -  er  We    float    on    for  -  ev  -  er.    Speak  not,  ah, 

get  -  ful-ness  sleep,    I                                                                                            y      v             >      > 

ten-der-ness  keep,     ' 


breathe  not !  there's  peace  on  the  deep.       Speak  not,  ah,  breathe  not !  there's  peace  on  the  deep. 


W?i 


W^ 


0-  I*    P-H* 


m 


fefe^Ei 


g^ff^ 


^ 


I 


B@i 


f 


BIRDS  ARE  IN  THE  WOODLAND. 


Kindergarten. 


M 


^ 


^ 


^ 


Il-g  J  d 


^ 


g=F=r 


1.  Birds  are     in     the  wood-land,  birds  are    on    the      tree, 

2.  Fruits  are   ripe    in      Au  -  tumn,  leaves  are  sere  and  red, 


Mer  -  ry  Spring  is    com  -  ing, 
Then  we  glean  the  corn-fields. 


^^H^fffr^gig^ 


U  W  0 


E^ 


r  ^  j^  ^ 


^^"^^7 


P 


5  : 5  i 


glad     of    heart    are     we.  Then  come  sport  -  ive   breez  -  es,  fields  with  flow'rs  are    gay, 

thank-ing     God    for  bread.        Then     at     last  comes  Win  -  ter,  fields  are  cold  and      lorn. 


m 


J=^ 


?^ 


f    ^    ^    \      r 


P=^ 


^ 


r 


ik 


pi 


^    N 


^ 


^S 


^^ 


33 


J  J .  ^ 


In  the  woods  we're  singing,  thro'  the  Summer  day.  In  the  woods  we're  singing,  thro'  the  Summer  day. 
But  there's  happy  Christmas,  when  our  Lord  was  born,  Then  there's  happy  Christmas,  when  our  Lord  was 

'■^  ^^-i*-.  ____^-^^  ■im--0--0-    -0-    ^     ^   .m-  -0-    ^   [bom. 


m 


:;it    'W  W  P  p=l-^-0- 


]/    1^    [y-V^ 


r  r  r  r 
>  u*  u*  U 


£ 


U   i^    i^    ^ 


W   ^     ^ 


"m 


^     W 


i^ 


3« 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Early  Genius. — Gounod,  the  musical  composer, 
early  manifested  his  talent.  How  he  secured  liberty 
to  follow  the  bent  of  his  genius,  is  told  in  the  follow- 
ing incident :  It  seems  that  when  a  boy  at  college, 
every  effort  was  made  to  destroy  his  musical  genius. 
His  professor,  M.  Poirson,  was  in  despair.  His  par- 
ents intended  him  for  the  ecole  normale.  On  its 
being  announced  to  him  that  he  was  to  go  up  for  the 
necessary  examination,  the  boy  burst  into  tears,  and 
steadily  refused  to  continue  his  classical  studies.  His 
mother  appealed  to  M.  Poirson,  and  implored  him  to 
recall  her  boy  to  what  she  considered  to  be  his  duty. 
The  stern  professor  accordingly  sent  for  him,  and,  in 


a  tone  more  threatening  than  encouraging,  said  to 
him  :  "  So  you  wish  to  be  a  musician?"  "  Yes,  sir," 
replied  the  terrified  boy.  ' '  But  that  is  not  a  pro- 
fession." "What,  sir;  the  profession  of  Beethoven, 
of  Mozart,  of  Gluck,  is  not  a  profession?"  "  But,  re- 
member that  Mozart  at  your  age  had  composed  music 
worth  publishing,  whereas  you  have  only  scribbled 
notes  on  paper.  However,  here  is  your  last  chance ; 
if  you  really  are  a  musician,  you  can  set  words  to 
music."  The  old  man  copied  out  the  poem,  "Joseph," 
"A  peine  au  sortir  de  Pen  France."  The  boy  hurried 
to  his  school  desk,  and  after  studying  the  subject, 
wrote  an  air  and  accompaniment,  which  he  brought 


MARY  OF  ARGYLE. 

Moderato. 


S.  Nelson. 


i^P^s^^*p^ 


1.  I  have  heard  the  mavis  singing  His  love-song  to  the  morn ;  I  have  seen  the  dew-dr^s  clinging  To  the 

2.  Thouo-h  thy  voice  may  lose  its  sweetness,  And  thine  eye  its  brightness,  too,  Though  thy  step  may  lack  its 
°  _^_  I  fleetness,  And  thy 

-^  ^  _  .-<*-^  -^•-l*--^--l*-o-^V  ^.     m.-^ 


rose  just  new-ly  bom ;  But     a  sweeter  song  has  cheer'd  me  At  the  evening's  gentle  close,  And  I've 
hair  its  sun  -  ny  hue.  Still    to    me  wilt  thou  be  dearer        Than       all  the  world  shall  own ;  I  have 

^'^^ ft*-^  ^     f^g: 


seen  an  eye  still  brighter  Than  the  dew-drop  on  the  rose ;  'Twas  thy  voice,  my  gentle  Mary,  And  thine 
loved  thee  for  thy  beauty,  But  not  for  that    a  -  lone.  I    have  watch'd  thy  heart,  dear  Mary,  And  its 


art-less,  winning  smile,     That  made  this  world  an  E  -  den,  Bon- ny  Ma  -  ry       of       Ar-gyle. 
goodness  was  the  wile       That    has  made  thee  mine  forever,  Bon  -  ny  Ma  -  ry       of       Ar-gyle. 


back  to  his  professor,  and  showed  to  him,  pale  with  i 
emotion.  He  felt  that  on  his  judgment  his  future 
career  depended.  He  sang  it  to  the  old  man,  who 
listened  in  amazement,  and  led  him  to  his  drawing 
room,  where  he  made  him  play  the  accompaniment 
on  a  piano.  Those  present  were  enraptured  by  the 
beauty  of  the  composition,  and  it  was  at  once  de- 
cided that  young  Gounod  must  follow  the  bent  of 
the  undoubted  genius  with  which  he  was  gifted. 

That  we  may  sympathize  truly,  we  must  in  a  degree 
partake  of  the  feelings  of  others ;  and  this  can  only  be 
done  in  proportion  to  their  truthful  and  delicate  deline- 
ation.    Whatever  aids  in  that  aids  in  promoting  hap- 


piness, and,  as  the  feelings  become  more  worthy  of 
expression,  so  every  means  of  expressing  them  should 
become  more  eagerly  welcomed.  There  is  no  doubt 
that  the  effects  of  good  music  upon  the  feelings  them 
selves  are  most  beneficial,  allaying  evil  passions,  calm- 
ing undue  excitement,  soothing  sorrow,  and  inspiring 
fresh  hope  and  courage  in  the  despondent.  If  it  be 
found  also  to  have  the  power  of  developing  the 
language  by  which  heart  speaks  to  heart,  and  thus  of 
drawing  humanity  nearer  together  in  sympathy,  an 
additional  reason  will  arise  for  its  cultivation,  and  the 
delight  which  it  now  affords  will  be  but  a  foretaste  of 
the  richer  and  deeper  happiness  it  has  in  store  for  us. 


FRANKLIN-iiQUARE  SONG    COLLECTION. 


39 


KILLARNEY. 


M.  W.  Balfb's  Last  Sohc. 
s 


Moderato' 

1.  By    Kil-lar  -  ney's 

2.  In  -  nis-  fal  -  len's 

3.  No  place  else  can 

4.  Mu  -  sic  there  for 


lakes  and  fells,  Em'-rald  isles  and      wind-ing  bays,  Mountain  paths  and 
ruin  -  ed  shrine  May  suggest    a  pass-ing  sigh;  But  man's  faith  can 

charm  the  eye  With  such  bright  and     va  -  ried  tints,  Ev'  -  ry  rock  that 
e  -  cho  dwells,  Makes  each  sound  a  har  -  mo  -  ny ;  Ma  -  ny-voiced  the 


woodland  dells,  Mem  -'ry     ev     -      er    fond  -  ly  strays,  Boun-teous  na-ture  loves  all     lands, 

ne'er  de-  cline  Such  God's  wond  -  ers  float  -  ing  by;  Cas  -  tie  Lough  and  Glena       bay; 

you   pass    by,     Ver-dure  broid  -  ers     or      besprints,  Vir  -  gin  there  the  green  grass  grows, 

cho  -  rus  swells, 'Till    it      faints      in      ec  -  sta-sy.  With  the  charmful  tints   be-  low, 


i=|K: 


2: 


fet 


:P=F 


^    t^J 


t 


^. 


-^«^ 


^^^^ 


^pj 


r^^^ 


^ 


=Pn==F 


? 


9=i^ 


Beau    ■ 
Moun  ■ 
Ev     - 
Seems 


ty 

tains 

'ry 

the 


wan  -  ders  ev    -  'ry     where,  Foot-prints  leaves  on     ma 

Tore    and  Ea  -  gle's  Nest;  Still      at     Mu  -  cross  you 

morn    springs  na   -  tal       day,  Bright-hued  ber  -  ries   daff 

heav'n  a      -  bove  to        vie,  All     rich    col     ors    that 


ny 
must 
the 


strands, 
pray 
snows, 
know, 


^^^m 


fagg 


3*^1 


^ 


rail. 


dim.  'P'P  a  tempo. 


^^^f^^^^^^^ 


i^?=» 


But     her  home  is  sure  -  ly 

Tho'  the  monks  are         now      at 
Smil  -  ing  win  -  ter's      frown     a    - 
Tinge  the  cloud-wreaths   in      that 


there !  An  -  gels  fold 
rest.    An  -  gels  won 
way.    An  -  gels  oft 
sky.  Wings  of     an  - 


m. 


% 


^¥^tUM 


their  wings  and  rest.  In    that  E    den 
-  der   not  that  man  There  would  fain  pro- 
en    pausing  there.  Doubt  if     E  -  den 
gels  so  might  shine.  Glancing  back  soft 


S 


g 


f 


^m 


^ 


^^i 


^' 


^^=F^^^^^^^ 


-^3t 


f 


of  the  West,  Beau-ty's home, Kil 

long  life's  span,  Beau  -  ty's  home,  Kil 

were  more  fair,  Beau-ty's  home,  Kil 

light  di  -  vine,  Beau -ty's  home,  Kil 


lar  - 

lar  - 

lar  - 

lar  . 


W: 


^^ 


ney, 
ney, 
ney, 
ney, 


Ev  -  er  fair 

Ev  -  er  fair 

Ev  •  er  fair 

Ev  -  er  fair 


Kil  -  lar  -  ney. 
Kil  -  lar  -  ney. 
Kil  -  lar  -  ney, 
Kil  -  lar  -  ney. 


r-FTTfF 


4° 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Sounds. — We  are  all  so  accustomed  to  trust  to  our 
sight  to  guide  us  in  most  of  our  actions,  and  to  think 
of  things  as  we  see  them,  that  we  often  forget  how 
very  much  we  owe  to  sound.  And  yet  nature  speaks 
to  us  so  much  by  her  gentle,  her  touching,  or  her 
awful  sounds,  that  the  life  of  a  deaf  person  may  be 
even  more  hard  to  bear  than  that  of  a  blind  one. 
Have  you  ever  amused  yourself  with  trying  how 
many  different  sounds  you  can  distinguish  if  you  lis- 
ten at  an  open  window  in  a  busy  street?  You  will 
probably  be  able  to  recognize  easily  the  jolting  of  the 
heavy  wagon  or  dray,  the  rumble  of  the  omnibus,  the 
smooth  roll  of  the  private  carriage,  and  the  rattle  of 


the  light  butcher's  cart;  and  even  while  you  are  lis- 
tening for  these,  the  crack  of  the  carter's  whip,  the 
cry  of  the  costermonger  at  his  stall,  and  the  voices  of 
the  passers-by  will  strike  upon  your  ear.  Then,  if 
you  give  still  more  close  attention,  you  will  hear  the 
doors  open  and  shut  along  the  street,  the  footsteps  of 
the  passengers,  the  scrapmg  of  the  shovel  of  the 
mud-carts;  nay,  if  he  happen  to  stand  near,  you  may 
even  hear  the  jingling  of  the  shoeblack's  pence  as  he 
plays  pitch  and  toss  upon  the  pavement.  If  you 
think  for  a  moment,  does  it  not  seem  wonderful  that 
you  should  hear  all  these  sounds  so  that  you  can 
recognize  each  one  distinctly  while  all  the  rest  are 


OLD 


GRIMES 


Albert  G.  Greene. 


Y      ^'  ^   ^  ^    >  ^  ^ 

Old    Grimes   is  dead,  that  good  oldman.  We  ne'er  shall  see  him  more;   He    wore     a   sin-gle- 
When  -  e'er   was  heard  the  voice    of  pain,  His  breast  with  pi  -  ty  burned ;  The  large,  round  head  up- 
He       lived     at  peace  with  all   mankind,  In  friendship  he  was    true;   His    coat   had  pock-et  - 


breasted  coat, That 
on        his  cane,  From 
holes   be-hind.  His 


buttoned  dow 


n  be  - 


fore.     His  heart  was   op  -  en 

i    -    vo  -  ry    was  turned.  Thus     ev  -  er  prompt  at 

pan  -  ta-  loons  were  blue.   But    poor 


the  day.  His 
ty's  call,  He 
at    rest,  Nor 


feel  -  ings  all  were  true ;     His    hair     it  was  in-clined  to  grey.  He  wore   it    in      a    queue, 
knew  no  base  de  -  sign;     His   eyes  were  dark, and  rath-er  small.  His  nose  was    a  -  qui  -  line, 
fears  misfortune's  frown;  He     had     a  dou-ble  -  breast-ed  vest,  The  .stripes  ran  up  and  down. 


S 


«:q^--£F*fct^: 


i 


^^ 


^^m 


4^=j^ 


t2i:^t2=t2: 


-5^-i»»- 


-1^—^- 


He  modest  merit  sought  to  find, 

And  pay  it  its  desert ; 
He  had  no  malice  in  his  mind, 

No  ruffle  on  his  shirt. 
His  neighbors  he  did  not  abuse. 

Was  sociable  apd  gay ; 
He  wore  not  rights  and  lefts  for  shoes, 

But  changed  them  every  day. 


His  knowledge,  hid  from  public  gaze, 

He  never  brought  to  view; 
He  made  a  noise  town-meeting  days. 

As  many  people  do. 
Thus,  undisturbed  by  anxious  care. 

His  peaceful  moments  ran; 
And  everybody  said  he  was 

A  fine  old  gentleman. 


going  on  around  you  ?  But  suppose  you  go  into  the 
quiet  country.  Surely  there  wijl  be  silence  there. 
Try  some  day  and  prove  it  for  yourself;  lie  down  on 
the  grass  in  a  sheltered  nook  and  listen  attentively. 
If  there  be  ever  so  little  wind  stirring  you  will  hear 
it  rustling  gently  through  the  trees;  or  even  if  there 
is  not  this,  it  will  be  strange  if  you  do  not  hear  some 
wandering  gnat  buzzing,  or  some  busy  bee  humming 
as  it  moves  from  flower  to  flower.  Then  a  grass- 
hopper will  set  up  a  chirp  within  a  few  yards  of  you, 
or,  if  all  living  creatures  are  silent,  a  brook  not  far 
oft'  may  be  flowing  along  with  a  rippling,  musical 
sound.     These  and  a  hundred  other  noises  you  will 


hear  in  the  most  quiet  country  spot;  the  lowing  of 
cattle,  the  song  of  the  birds,  the  squeak  of  the  field- 
mouse,  the  croak  of  the  frog,  mingling  with  the 
sound  of  the  woodman's  axe  in  the  distance,  or  the 
dash  of  some  river  torrent.  And  besides  these  quiet 
sounds,  there  are  still  other  occasional  voices  of  na- 
ture which  speak  to  us  from  time  to  time.  The 
howling  of  the  tempestuous  wind  abroad  in  its  fury, 
the  roaring  of  the  sea-waves  in  a  storm,  the  crash  of 
thunder  and  its  reverberations  among  the  hills,  and 
the  mighty  noise  of  the  falling  avalanche;  such 
sounds  as  these  tell  us  how  great  and  how  terri- 
ble nature  can  be  in  her  varied  moods. — Buckley. 


FRAXKLIN-SQUARE.    SONG    COLLECTION. 


4r 


tSrfc 


I 


HOE  OUT  YOUR  ROW. 

Allegretto.    ^        j  |^  |^^ 


Arr.  from  DoNirETTi. 


«=^ 


i 


3^ 


*c: 


^sa^E^ 


f 


s^    \     ^  \     -^  i     l^   1     ' 

boy    Was  hoe  -  ing    in       tne  field     of    com,  And 

row,    And  farm  -  ers  paid     but  mea  -  gre  hire,  The 

long,  And  oft  -  en  proved  the  mor  -  al    well.  That 


1.  One     sul  -  try    day      a        farm-er's 

2.  Al- though  a     hard  one      was     the 

3.  The     lad     the    text     re  -  mem-ber'd 


-^-r^- 


t 


^   m 


t 


u^ 


tfi: 


£^e^^^f^ 


g 


^ 


f=? 


K — — -> 


5& 


w^=^ 


^^ 


^=^ 


r.  gr  rr 


Si 


anx  -  ious  -  ly       had  wait  -  ed    long 

lad     had  work'd  from  ear  -   ly   morn, 

per  -  se  -  ver  -  ance  to        the  end, 

-m — ^    ^ 


To       hear    the    wel  -  come     din  -  ner  horn;  The 
And      now     be-  gin-  ning      "well     to      tire — "I 
At       last     will    al  -   ways      no  -   bly    tell,    Take 


I 


4* 


^ 


% 


S^ 


? 


r=^ 


i^^ 


-m 


s 


wel 

can,' 
cour 


come  call     was    heard      at     last, 
'  said    he,     and      man  -  ful  -  ly 
-  age,  then,     re  -  solve     you  can, 

I 


i 


:i^ 


And    down     he  quick  -  ly   dropp'd    his  hoe;  The 

He     seized     a  -  gain     his       fall  -   en  hoe;  The 

And     strike     an    earn  -  est,      vig'r  -  ous  blow;  In 

3^- 


^^ 


m 


bfct 


g 


m 


f 


i 


t 


^^ 


^ 


^5 


*=s 


f=^=^ 


»=»— « — f 


farm 
good 
life's 


-  er  shout  -  ed  in  his  ear, 
man  pleased,  now  smiled  to  see 
great  field       of         va  -  ried   toil, 


'  Hoe  out 
The  farm 
Hoe      out 


^^ 


your    row!  hoe  out  your   row!' 

er's    boy  hoe  out  his    row. 

your  row,  hoe  out  yoiK  row ! 

^       ^  ^  ^            >     /> 


ti==^=)K: 


ttz^ 


TIME  DOTH   PASS  AWAY 


'School  Days." 


rrr^^^FJ^J  j'iJ~j 


1.  Ga-ther     ro  -  ses  while  they  bloom,  Nev-er   lose      a     day.      Nor     in    sloth  one  hour  con - 

2.  Now  you've  op  -  por  -  tu   -  ni  -  ty,    Both  for  work  and  play ;  Where  may  you     to  -  mor-row 

3.  Men  have  mourned  their  whole  life  through  One  sjood  deed's  delay :  Do  at  once  what  you've  to 


sume,  Time  doth  pass  a  -  way,  Nor  in  sloth  one  hour  con-sume,  Time  doth  pass  a  -  way. 
be  ?  Time  doth  pass  a  -  way,  Where  may  you  to  -  mor-row  be  ?  Time  doth  pass  a  -  way. 
do,      Time  doth  pass  a  -  way,       Do     at  once  what  you've  to  do,    Time  doth  pass    a  -  way. 


errffTff^ 


i 


ii--F 


=P=-* 


B=^ 


4« 


FRANKLIN-SQUARE   SONG   COLLECTION. 


HOW  SOFTLY  ARE  GLANCING. 

43  Solo.       ...  .  .         ' 


Mozart. 
From  "  Magic  Flute.' 


^ 


:^^=i 


i^ 


P=^ 


iJ  Allegretto. 

La,      la,    la,    la,     la,        la,     la,     la,      la,       la,     la,     la,     la,    la,  la,   la,  la,  la,     la, 


i 


^^ 


-^« 


i 


jn> 


^1 


i^=k 


5l=ff: 


la,      la,        la,      la,  la,        la,       la,      la. 


la,         la,      la,         la,      la,        la,        la, 

?  t  I  t  » 


I 


5 5- 


i 


How    soft  -  ly       are   glanc-ing      Bright  stars     on        the  tide,        Tra,  la,     la,         la,      la. 
Then,  bend  -  img    with  vig  -  or.        We      ply      the      light  oar,         Tra,  la,     la,         la,      la, 

VP 


'^    h  h 


i==^ 


^^    ^   '^ 


-1^^ 


r^     ^ 


^^^^^m^-m^^^^ 


la,      la,  la,  tra,   la,       la,      la,        la,        As       on  the  waves  dancing    in      si  -  lence     we 
la,      la,  la,  tra,   la,       la,      la,        la,       We      sing  as      we   row  till   we're  near-ing       the 


'^4^^^    ^.^^"i    'j:^   i'^   ^^^ 


i 


i 


^ 


lit.  ^ 

Fine, 


^ 


i  t\^ 


X 

la. 


glide,       Tra,  la,     la,  la,      la,      la,         la,   la,      la,       la,  la, 

shore,      Tra,  la,     la,  la,      la,      la,         la,   la,      la,       la,  la, 


la, 
la. 


-fcus 


^^^ 


J  •     J     ^ 


FS 


^-  ^ 


Sooth  -  ing    balm   for       ev  -  'ry   smart   This  sweet  music       car     -     ries. 
Where  such  love  -  ly      songs    a  -  bound  Whose  sweet  echo      press    -    es 


And  in 
With  a 


ev  -  'ry 
clear  and 


^ 


J       J       J- 


'    J'ijJJ'J. 


I  ! 


•>  -i    J   -J 


$ 


?2= 


FRANKLIN-SQUARE   SONG   COLLECTION. 
P  f 


43 


3SE 


f  '  '  J  ^ 


^ 


^^ 


=^ 


:S=:pt 


r  '   '  '  r  r  r  r "  i    ■'   1 

hu  -  man  heart      Soft     e    -    mo  -  tion       tar  -  ries.       Ihen    a  -    way  with     grief  and  pain, 
joy  -  ous   sound     To     the  heart's  re  -    cess  -    es,         We  would  ev  -   er        live     in  peace, 


i 


TT^jns 


t> 


*    4.L   6*L   '^ 


f^-^^Ui. 


^ 


1— I — t 


^ 


^-fg^^ 


^ 


:& 


f 


3=« 


^ 


f 


-^ii^ir- 


With  us  now  shall  mus  -  ic   reign !    In  this      vale  shall      mus  -  ic,  sweet  mus  -  ic 

Har- mo- ny  would  nev  -  er  cease.     Har    -    mo        -        ny   would     nev  -  er,  would  nev  -  er 


S 


--if=^- 


:^:^=W: 


is"~^r 


:it=it 


^i^:r^ 


'-  ^^ 


:i:    :^ 


P 


t^^- 


i 


J  N  ** 


*  *  V 


V  ^  * 


s 


:22i 


? 


i 


reign !      O    there    are     too        man  -  y         tears.     Then  with  cheer  -  ful         voi       -       ces 
cease.    Con  -  cord,  friendship,      peace   a    -     lone        Can    our     bur  -  dens       light      -      en, 
P 


i 


g 


^^3 


t=t 


i=^ 


0     Ch^ 


^# 


D.C. 


:=l=q 


St? 


r=r^ 


f=PT 


T.et        us         fill        the         liv    -     ing      years       Till       the     world      re    -    joi     -      ces. 
Then      first    sounds    con    -    tent  -   ment's  tone,      Life       on      earth       to      bright    -    en. 


i 


J  J I J 


J        J 


^  a> 


■^^ 


THE   ECHO. 


—    »,__i 1^^ |s_^ ^ K  I   1^^   r     in  I 


iS: 


1.  O     hark!     O  hear!  How    soft      and  clear   The   ech 

2.  The    gen  -   tie  breeze     A  -  mong    the  trees   The   ech 

3.  The     mu  -   sic  floats      In      soft  -   est  notes    Up  -  on 


o's    mel  -  low      strain  I  O 

o     wafts     a    -     long;  We 

the    zeph-yr's      wing;  O 


gl^ 


g 


^ 


m    ^ 


? 


^^^^ 


PV 


hi      N   I  I J  11       I   I J  11       I 


ft-i-j 


ech  -  o,  hear !  O  ech  -  o,  hear !  Re  -  ply  a  -  gain,  a  - 
call  a  -  gain.  We  call  a  -  gain,  O  hear  our  song,  our 
hear  the  song!  O    hear  the  song !  A  -  gain     we     sing,    we 


gain,  a  -  gam,  a  -  gain, 
song,  our  song,  our  song, 
sing,    we     sing,     we      sing. 


^ 


-^— T»- 


^ 


^  r  r  r- 


^ 


^ 


44 


FRANKLIN-SQUARE   SONG    COLLECTION, 


Mere  Noise. — Wliy  do  we  not  hear  all  sounds 
as  music?  Why  are  some  mere  noise,  and  others 
clear  musical  notes?  This  depends  entirely  upon 
whether  the  sound-waves  come  quickly  and  regular- 
ly, or  by  an  irregular  succession  of  shocks.  For  ex- 
ample, when  a  load  of  stones  is  being  shot  out  of 
a  cart,  you  hear  only  a  long,  continuous  noise,  be- 
cause the  stones  fall  irregularly,  some  quicker,  some 
slower,  here  a  number  together,  and  there  two  or 
three  stragglers  by  themselves;  each  of  these  different 
shocks  comes  to  your  ear  and  makes  a  confused. 


noisy  sound.  But  if  you  run  a  stick  very  quickly 
along  a  paling,  you  will  hear  a  sound  very  like  a 
musical  note.  This  is  because  the  rods  of  the  paling 
are  all  at  equal  distances  one  from  the  other,  and 
so  the  shocks  fall  quickly  one  after  another  at  regular 
intervals  upon  your  ear.  Any  quick  and  regular 
succession  of  sounds  makes  a  note,  even  though  it 
may  be  a  disagreeable  one.  The  squeak  of  a  slate 
pencil  along  a  slate,  and  the  shriek  of  a  railway 
whistle  are  not  pleasant,  but  they  are  real  notes 
similar  to  those  which  can  be  produced  on  a  violin. 


THE  CUCKOO. 


^^^^^^^ 


1.  Now  the  sun   is     in   the  west,     Sink-ing  slow  behind  the  trees,  And  the  Cuckoo,  welcome  guest, 

2.  Cheerful  see  yon  shepherd  boy.     Climbing  up    the  crag- gy  rocks.  As  he  views  the  dappled  sky, 


Gent- ly  woos  the  even-ing  breeze, Cuckoo!    Cuckoo!     Cuckoo!     Cuckoo!      Gently  woos  the 
Pleas'd  the  Cuckoo's  note  he  mocks, Cuckoo!    Cuckoo!     Cuckoo!     Cuckoo !  Pleas'd  the  Cuckoo's 


0--^T  m.SZJ^ 


evening  breeze.  Sportive  now  the  swallows  play.  Lightly  skimming  o'er  the  brook.  Darting  swiff  they 
note  he  mocks.  Now  advancing  o'er  the  plain.    Evening's  dusky  shades  appear.  And  the  Cuckoo's 


wing  their  way,  Homeward  to  their  peaceful  nook.  Whilst  the  Cuckoo,  bird  of  Spring,  Still  amidst  the 
voice   a  ■  gain     Soft  -  ly  steals  up  -  on  mine  ear.  While  re-tir  -  ing  from  the  view,  Thus  she  bids  the 


m 


^fVdf^ 


-^ 


£ 


«^ 


i 


rfcfr- 


^ 


i^id 


Ol^^ 


n 


iz^izii^ 


^^Mi 


r? 


trees  doth  sing.  Cuckoo!     Cuckoo!     Cuckoo!     Cuckoo!      Still    amidst   the  trees  doth  sing. 
day    a  -  dieu.  Cuckoo !     Cuckoo !     Cuckoo !     Cuckoo !    Thus  she  bids  the  day     a  -  dieu. 


FRANKLIN-SQUARE   SONG    COLLECTION. 

SPRING,    GENTLE   SPRING. 


45 


5=3 


i 


J.  Riviere. 
J.  R.  Planche. 


^ 


"^^^i 


:=1; 


^=tc 


^i=^ 


:^-g-g-p>     -^ 


I  I    '    ^  J  I  r 


1.  Spring!  Spring!  gen     -     tie  Spring !  Young  -  est     sea    -     son    of      the    year,      Hith  -  er 

2.  Spiing!  Spring!  gen     -     tie  Spring  I    Gust   -   y     March     be -fore    thee  flies,     Gloom  -  y 


ss 


:  <   r^  ■■ — i 1 — 


^ 

P 


^ 


^ 


53E 


^ 

■*-+- 


i 


s^j^gs^iii^^ 


#=^ 


:^=P: 


^ 


^^ — ^ 


haste,  and  with      thee  bring      A      -      pril  with 
Win  -  ter    ban    -    ish-ing;      Clear  -   ing   for 

:^_^    J         J    J  .     -         -     J 


her  smile  and  tear ;    Hand   in   hand  with 
thy  path  the  skies.  Flocks  and  herds,  and 


^^ 


¥ 


r 


Si*— 1^ — 


^m 


4n 


ri 


*^^J-  T^r-fTT^ 


:# 


St 


joc   -   und  May,    Bent    on       keep  -   mg     ho  -  li  -  day.      With   thy  dai  -   sy       di    -    a  - 
meads  and  bow'rs.  For     thy      gra  -    cious  pres-ence  long !    Come  and  fill      the    fields  with 


^ — ^- 


^ 


r± 


^ — (*■ 


g=>=Eg 


m^ 


^ 


^ 


:J^hv    k 


^:St 


^ 


^^ 


-id    *^ 


^T-r  r 


5^ 


^ 


V 


FTT 


s» 


^ 


dem,       And    thy      robe        of    bright  -  est  green, —  We     will    wel  -  come  thee  and  them, 
flow'rs,  Come  and      fill  the  woods  with  song. —     We     will    wel  -  come  thee  and  them. 


t 


^ 


H^ 


U:f- 


M 


!2l 


ac^^^g 


:^=P^ 


'^^ 


^     rrc.f. 


^d  I  i^-^^tezi=  ^ 


i 


m 


Z2 


^S 


As  ye've   ev  -  er  welcomed  been.  Spring!  Spring!  gen  -   tie  Spring!  Young- est    sea  -  son 


A  ^.^^> — t-^ i — 


-^-  -IS-  -10-  -IS- 


:g-- 


JU- 


T^-r 


2=i:p=:p2=pc 


rrT 


^^-^^^j^A^^te^gpS^^ 


ZSI5: 


^^ 


of     the    year,      Life  and  joy     to    na  -  ture  bring!  Na  -  ture's  dar  -  ling,  haste  thee  here. 


^ 


^1^ 


^ k 


:^ 


46 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  incident  which  gave  rise  to  the  song,  "  True 
Love  Can  Ne'er  Forget,"  by  Samuel  Lover,  has  been 
the  foundation  of  several  other  ballads,  some  of 
them  translated  from  the  ancient  Irish.  The  story 
runs  that  Carolan,  a  blind  harper,  recognized  his 
early  love,  Bridget  Cruise,  by  the  touch  of  her  hand, 
although  he  had  not  met  her  for  twenty  years.  The 
old  lover  was  playing  by  the  water,  when  a  ferry-boat 
drew  near,  and  he  chanced  to  assist  the  lady  to  alight. 


Turlogh  O'Carolan,  the  bard,  was  one  of  the  charac- 
ters of  Ireland.  He  was  born  in  Nobber,  county  West- 
meath,  in  1670,  and  was  the  last  of  the  ancient  race  of 
Irish  bards.  He  lost  his  eyesight  at  the  age  of  sixteen. 
He  made  very  beautiful  words,  but  was  chiefly  noted 
for  his  exquisite  melodies.  Goldsmith,  who  had  seen 
him  in  his  boyhood,  wrote  in  later  life:  "His  songs 
may  be  compared  to  those  of  Pindar,  they  bearing 
the  same  flight  of  imagination." — Familiar  Songs ^ 


TRUE  LOVE  CAN  NE'ER  FORGET. 


Samuel  Lover. 


m^r\^  ^^\^-^^^^=^^ 


ba- 


?i=4: 


I."  True  love  can  ne'er   for-get.     Fond-  ly     as  when   we  met,     Dear  -  est,    I   love    thee  yet, 
2."  Long  years  are  past  and  o'er,  Since  from  this  fa  -   tal  shore.  Cold  hearts  and  cold  winds  bore 
3.    Where  minstrel  sat       a- lone,   That     la  -  dy  fair  hath  gone ;     In  his  hand  she  placed  her  own- 

I 


fejigif?giFi^^-^f -Iff  Fine 


-=»-- 


s 


mj:i±uiM. 


r 


My       dar  -  ling       one !"  Thus   sang   a      min  -  strel  gray,       His    sweet  im  -  passioned  lay. 
My       love  from      me."  Scarce  -  ly    the     min  -  strel  spoke.  When  forth  with  flash   ing  stroke, 
He     bowed  his      knee.  With    lips  whence  blessings  came.    He    kissed  with  tru  -  est  flame 


S 


m 


r^-^^^ 


m  it  r 


i 


jp~^|*    i* 


^^W 


i 


M:IM^H^ 


iv:^ 


*=i* 


^^ 


^±=t- 


^31 


I 

Down     by   the       o  -  cean's  spray,     At        set  of 

Light    oars  the      si  -  lence  broke      O    -    ver  the 

Her     hand,  and  named  her  name     He     could  not 


sun.  With  -  ered  was  the    minstrel's  sight, 
sea.  Soon     up  -  on    her     na-tive    strand 
see.  True   love  can    ne'  -  er       for  -  get 


Morn 
Doth 
Fond 


to  him  was  dark    as  night.  Yet  his  heart  was  full  of  light.  As  he  this  lay  be  -  gan  ; 
a   love  -  ly       la  -  dy  land.  While  the  minstrel's  love-taught  hand.  Did  o'er  his  wild  harp  run ; 
-    ly     as  when  they  met.  He       loved  his  la  •  dy  yet.    His  dar-ling   one ! 


^S! 


-j-r- 


-m-0t- 


■f==m^ 


w=r- 


mm^w^ 


i3 


m 


^=1^ 


!•: 


-1^— i^ 


^  ;/  1/  ^ 


Invisible. — All  the  sounds  we  hear — the  warning 
noises  which  keep  us  from  harm,  the  beautiful  mu- 
sical notes  with  all  the  tunes  and  harmonies  that  de- 
light us,  even  the  power  of  hearing  the  voices  of  those 
we  love,  and  learning  from  one  another  that  which 
•jach  can  tell — all  these  depend  upon  the  invi.sible 
vaves  of  air,  even  as  the  pleasures  of  light  depend 
in  the  waves  of  ether.  It  is  by  these  sound-waves 
hat  nature  speaks  to  us,  and  in  all  her  movements 
here  is  a  reason  why  her  voice  is  sharp  or  tender, 
!oud  or  gentle,  awful  or  loving.  Why  does  the  little 
brook  sing  so  sweetly,  while  the  wide,  deep  river 
:nakes  no  noise  ?    Because  the  little  brook  eddies  and 


purls  round  the  stones,  hitting  them  as  it  passes;, 
sometimes  the  water  falls  down  a  large  stone,  and 
strikes  against  the  water  below,  or  sometimes  it  grates 
the  little  pebbles  together  as  they  lie  in  its  bed.  Each 
of  these  blows  makes  a  small  globe  of  sound- waves, 
which  spread  and  spread  till  they  fall  on  your  ear, 
and  because  they  fall  quickly  and  regularly,  they 
make  a  low  musical  note.  We  might  indeed  fancy 
the  brook  recalling  Shelley's  beautiful  lines: 

Sometimes  it  fell 
Among  the  moss  with  hollow  harmony, 
Dark  and  profound ;  now  on  the  polished  stones 
It  danced ;  like  childhood  laughing  as  it  went- 


FRANKLIN-SQUARE   SONG    COLLECTION. 


47 


COME,  SING  ME  THAT  SWEET  AIR  AGAIN. 


Thomas  Moorbi 


1.  Come,  sing  me  that    sim  -  pie    air  a-  gain,       I    used   so    to       love         in    life's  young; 

2.  Sweet   air!        how    ev   -  'ry     note     brings  back    Some  sun    -     ny      hope,    some  day  -  dream. 


m^- 


i 


n- 


m 


i 


i 


T 


t^ 


ta^ 


mi 


i— r 


f 


:5tt 


day.     And  bring,  if    thou  canst,     the    dreams  that  then      Were  wak-en'd   by      that      sweet 
bright,  That    shin    -     ing    o'er      life's  ear     -     ly   track,     Fill'd  ev  -  en     its      tears      with 


-C^- 


«: 


^^ 


:er-^- 


m 


^ 


m 


ij_« 


s^ 


n^w- 


f^- 


?=: 


i^ 


^ 


^m 


*-«- 


El^Etg^ 


ay. 
light. 


^«= 


The    ten  -  der  gloom   its      strain 
The   new  found  life    that     came 


Shed  o'er    the  heart   and   brow, 
With  love's  first    ech  -  o'd    vowj 


•J^-^- 


-^- 


^- 


■^—T- 


^znfz 


^=? 


i^-1 


^i^I 


-j^-^ 


Grief's  shadow,  with- out      its   pair,       Say  .  .  .  where,  where  is    it    now?  But 

The       fear,        the  bliss,  the  shame.     Say  .  .  .  where,  where  are  they  now?         But 


^=t 


:P— 


:^=tE 


-X:^ 


1^- 


-^^ 


l^l-l 


22: 


-j^-^ 


^^-^- 


t 


^ 


ES^ 


^ 


r 


r 


play  me    the    well-known   air  once  more,     For    thoughts  of      youth      still  haunt    its 

still  the   same    lov'd     notes        pro -long,      I'or    sweet    'twere   thus  to     that     old 


g 


^=^^^:=^ 


i  J    .    ^  J 


^S 


^ 


F 


fP^ 


gam» 
way» 


s 


strain,  Like  dreams  of   some    far    fai     -     ry  shore,  We're  nev-er    to     see  a  - 

lay.         In   dreams  of  youth,  and  love,     and  song.     To  breathe  life's    hour  a 


-h 


?2: 


t-^--1^ 


48 


FRANKLIN-SQUARE   SONG    COLLECTION. 


How  They  Move. — If  we  are  now  able  to  jncture 
to  ourselves  one  set  of  waves  going  to  the  wall,  and 
another  set  returning  and  crossing  them,  we  will  be 
ready  to  understand  something  of  the  very  difficult 
question,  How  is  it  that  we  can  hear  many  different 
•sounds  at  one  time  and  tell  them  apart?  Have  you 
ever  watched  the  sea  when  its  surface  is  much  ruffled, 
and  noticed  how,  besides  the  big  waves  of  the  tide, 
there  are  numberless  smaller  ripples  made  by  the 
wind  blowing  the  surface  of  the  water,  or  the  oars  of 


a  boat  dipping  in  it,  or  even  rain-drops  falling?  If 
you  have  done  this  you  will  have  seen  that  all  these 
waves  and  ripples  cross  each  other,  and  you  can  fol- 
low any  one  ripple  with  your  eye  as  it  goes  on  its 
way  undisturbed  by  the  rest.  Or  you  may  make 
beautiful  crossing  and  recrossing  ripples  on  a  pond 
by  throwing  in  two  stones  at  a  little  distance  from 
each  other,  and  here  too  you  can  follow  any  one  wave 
on  to  the  edge  of  the  pond.  Now,  just  in  this  way  the 
waves  of  sound,  in  their  manner  of  moving,  cross 


OLD  ROSIN  THE  BOW 


Old  English  Song. 


1/ 

1.  I'vetrav-el'd  the  wide    world  o  -  ver.     And      now    to      an  -  oth  - 

2.  And  when  I     am  dead,  if  you  wish  it,       Old  friends,  you  will  want 

3.  Then  get   you    a     couple   of  tombstones.  That     all     who  pass  by, 

4.  I       feel    the  grim    tyrant  ap-proaching.  That     cru  -  el,    im-pla  - 


er  I'll   go; 
to,    I    know, 
as  they  go, 
ca  -  ble    foe. 


I 

Come 

May 

Who 


^^m^M 


know  that  good  quar  -  ters  are  wait-ing 

stand  by    the     side      of    my  cof-fin, 

read  in    the     let  -   ters  you  put  there, 

spares  neither     age      nor  con-  di  -  tion. 


To 

And 

The 

Nor 


wel-come  old  Ros 

look   at      old  Ros 

name  of     old  Ros 

ev  -  en     old  Ros 


in  the  Bow; 

in  the  Bow ; 

in  the  Bow; 

in  the  Bow; 


To 

And 

The 

Nor 


wel-come  old   Ros  -  in  the  Bow, 

look    at  old    Ros  -  in  the  Bow, 

name  of  old    Ros  -  in  the  Bow, 

ev  -    en  old    Ros  -  in  the  Bow, 


To 
And 
The 

Nor 


welcome  old  Ros  • 

look    at  old  Ros  • 

name  of  old  Ros 

ev  -  en  old  Ros  ■ 


in  the  Bow;         I 

in  the  Bow;  Come 

in  the  Bow;  May 

in  the  Bow;  Who 


know  that  good  quar  -  ters  are    wait  -  ing 
stand     by    the    side       of  my     oof  -  fin, 
read       in    the     let  -   ters  you    put  there, 
spares  neither      age      nor  con  -  di  -  tion. 


To 
And 
The 

Not 


wel  -  come  old  Ros 

look        at    old  Ros 

name      of    old  Ros 

e    -    ven  old  Ros 


ii^ 


i 


^ 


-  in  the  Bow. 

-  in  the  Bow. 

-  in  the  Bow. 

-  in  the  Bow. 

P1^ 


£ 


«= 


^n^ 


and  recross  each  other.  You  will  remember  too, 
that  different  sounds  make  waves  of  different  lengths, 
just  as  the  tide  makes  a  long  wave  and  the  rain-drops 
tiny  ones.  Therefore  each  sound  falls  with  its  own 
peculiar  wave  upon  your  ear,  and  you  can  listen  to 
that  particular  wave  just  as  you  look  at  one  particular 
ripple,  and  then  the  sound  becomes  clear  to  you. 

Audubon,  as  he  camped  in  the  forest,  found  the 
•song  of  the  whippoorwill  one  of  the  most  delightful 


sounds  of  nature,  sweeter  to  him  than  that  of  the 
nightingale.  Mu.sicians  have  frequently  attempted 
to  write  out  the  songs  of  birds.  Wilson  Flagg  has 
thus  embalmed  the  songs  of  nearly  all  our  feathered 
minstrels.  Handel  has  done  kindred  work  for  the 
nightingale.  In  the  second  quartet  of  the  Minuet, 
Mozart  incorporated  the  cackle  of  the  domestic  fowl, 
while  Haydn,  in  his  twentieth  quartet,  gives,  with  ef- 
fect, the  joyous  note  that  announces  a  new-laid  egg. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


49 


NANCY  LEE. 


Stephen  Adams.  C.  Matz  Arr. 


JJ  spirited.  I       -•-  -^-'-^A  f  ^      1-^ 


1.  Of  all       the  wives  as  e'er  you  know,  . 

2.  The  har  -  bor's  past,  the  breezes  blow,  , 

3.  The  boa's  -  'n  pipes  the  watch  below,  . 


Yeo  -  ho  !  lads,  ho !  Yeo  -  ho ! 
Yeo  -  ho !  lads,  ho !  Yeo  -  ho ! 
Yeo  -  ho !     lads,  ho !   Yeo  -  ho ! 


yeo -ho!  There's 
yeo -ho!      'Tis 
yeo  -  ho !     Then 


none     like  Nancy  Lee,  I   trow, 
long      ere  we  come  back  I  know,    .    . 
here's     a  health  before  we  go,    .    .    . 


Yeo  -  ho !  lads,  ho ! 
Yeo  -  ho !  lads,  ho ! 
Yeo  -  ho!       lads,     ho! 


yeo  -  ho! 
yeo  -  ho ! 
yeo  -  ho ! 


there  she  stands  and  waves  her  hands,  upon  the  quay.  An'  ev'-ry  day  when  I'm  away.  She'll  watch  for 
true  and  bright,  from  morn  till  night,  my  home  will  be,  An'  all  so  neat,  an'  snug,  an'  sweet,  For  Jack  at 
long,  long  life  to  my  sweet  wife,  and  mates  at  sea ;  An'  keep  our  bones  from  Davy  Jones  where'er  you 


^ 


^f=^ 


:f=^?:t 


-^5 


V 


—^ 


U-f 


h 


^M. 


s"P 


^a^53y^S33 


? 


1523 


r*^ 


-S-4 


me,  .  An' whisper  low,  when  tempests  blow,  for  Jack  at  sea,  Yeo-ho!  lads,  ho!  .  yeo -ho!  ' 
sea,  .  An'Nancy'sfacetoblesstheplace,an' welcome  me;  Yeo-ho!  lads,  ho!  .  yeo-ho!  -"*. 
be,    .    An'  may  you  meet  a  mate  as  sweet  as  Nancy  Lee.  Yeo  -  ho !      lads,  ho !    .    yeo  -  ho ! 


The       sail    -    or's  wife  the  sailor's  star    shall  be,  Yeo-  ho!        we      go      a   -   cross     the 

I 


3 


# 


^m 


J 


E^E 


^^ 


£ea,      The  sail    -    or's  wife  the  sailor's  star  shall  be,  The  sailor's  wife  his  star  shall    be. 


iP— #- 


Mdk 


I    'A 


? 


t^ztti 


tzV-t— t; 


•H?- 


II-D 


5o 


FRANKLIN-SQUARE   SONG    COLLECTION. 


There  can  be  no  doubt  that  music  has  a  great  in- 
fluence in  imparting  those  delightful  sensations  which 
tend  to  sweeten  and  prolong  life.  That  this  fact  is 
often  recognized  is  testified  by  the  immense  number  of 
those  who  devote  themselves  entirely  to  the  manufac- 
ture and  sale  of  musical  instruments.  It  is,  however,  ac- 
knowledged throughout  the  world,  that  the  human  voice 
has  no  equal  for  the  production  of  sweet,  elevating, 
enchanting  sounds  that  delight  the  ear  and  give  tone 
and  coloring  to  the  words  of  the  poet.  Hence,  of  all 
kinds  of  music,  vocal  music  should  claim  the  especial 
attention  of  all  earnest  and  progressive  educators,  for 
singing  is  known  to  improve  the  enunciation,  refine 
the  taste,    elevate  the  morals,   confirm    the    health, 


strengthen  the  social  feeling,  and  add  much  to  the 
pleasure  of  all.  The  consideration  of  health  is  one- 
to  which  too  much  attention  cannot  be  given.  Singing 
is  beneficial,  indirectly,  by  increasing  the  flow  of  spirits, 
and  dispelling  weariness  and  despondency;  and  directly 
by  the  exercise  which  it  gives  to  the  lungs  and  the  vital 
organs.  We  cannot  sing  without  increased  action  of  the 
lungs,  and  this  causes  the  heart  and  all  the  organs  of 
digestion  and  nutrition,  to  act  with  renewed  vigor. 
The  singer  brings  a  greater  quantity  of  air  into  contact 
with  the  blood,  and  hence  the  blood  is  better  purified 
and  vitahzed.  Healthful  and  highly  oxygenized  blood 
gives  energy  to  the  brain,  and  thus  the  mind  as  well 
as  the  body  shares  the  benefit  of  the  exercise.     There 


THE   BROKEN    RING. 

[DAS    ZERBROCHENE    RINGLEIN.  J 


F.  Gluck,  1814. 

Jos.  VON    ElCHENDORFF. 


As  soldier  would  I  hasten 
Where  rages  fierce  the  fight ; 

And  by  the  watch-fire  linger 
Through  all  the  gloomy  night. 


5.  Yet  whilst  the  mill  I'm  hearing 
I  know  not  what  my  mind ; 
Ah !  would  my  days  were  ended, 
I  then  should    quiet  find ! 


*  4th  verse  rather  fast  ^nA.J'orte,  5th  slower  and ; 


a  great  enjoyment  in  listening  to  music.  As  Marx 
well  expresses  it :  "  That  which  I  hear  enters  into  my 
existence  from  without,awakens  and  enriches  my  mind; 
but  that  which  I  sing  is  the  effluence  of  my  own  life, 
the  exertion  of  my  own  power  to  refresh  and  elevate 
myself  as  well  as  others."  Hence  all  should  learn  to 
sing,  and  children  should  be  taught  from  their  earliest 
years  to  sing  properly  and  sweetly.  There  are  parents 
who  imagine  that  their  children  have  not  the  power  of 
song.  To  these  I  say,  in  the  emphatic  words  of  a 
teacher  of  thousands  of  children  and  adults,  "  Mo'>t 
adults  and  all  children  can  learn  to  sing."  The  very 
same  organs  that  are  used  in  speech  are  used  in  song, 
and  in  almost  precisely  the  same  manner.     Hence  it 


is  obvious  that  all  children  who  can  be  taught  to  talk 
can  likewise  be  taught  to  sing.  The  extent  of  the 
ability  attained,  as  a  natural  consequence,  is  dependent 
upon  the  application  of  the  pupil  and  the  methods  of 
teaching  used.  And  yet  singing  is  almost  pre-eminent 
in  its  universality,  because  it  is  independent  of  culture. 
The  most  ignorant  bow  to  its  all-embracing  sway, 
and  thousands  to  whom  form  and  color,  science  and 
literature,  speak  a  strange  tongue,  wake  to  the  familiar 
accents  of  the  universal  language.  Their  love  of  it 
wants  no  nurture.  We  cannot  prevent  their  singing, 
do  what  we  will;  and  they  are  likely  to  feed  their 
lower  nature  with  music  if  we,  as  teachers  and 
educators,  do  not  aid  them  wisely  to  feed  their  higher^ 


FKANKLIN-SQUARE   SONG    COLLECTION. 


5' 


WONT  YOU  TELL  ME  WHY,  ROBIN? 


^^^^^^^^^m 


^ 


l.\ou     are     not    what  you     were,    Rob-  in,       Why  so      sad      and  strange? 

2.  On      Sun -day,   af    -    ter    church,  Rob  -  in,    I  look' d  a   -   round  for    you, 

3.  The     oth  -  er      night  we  danced,  Rob  -  in,  Be-neath  the     haw  -  thorn  tree ; 

1 


once  were  blithe  and 
thought  you'd  see  me 
thought  you'd  sure  -  ly 


gay,        Rob  -  in, 
home,     Rob  -  in.  As 
come,      Rob  -  in,   If 
1 


What  has  made     you   change? 
once   you  used       to         do. 
but       to    dance   with       me: 


You 
But 
But 


^^ 


nev  -  er  come  to  see  me  now,  As  once  you  used  to  do; 
now  you  seem  a-fraid  to  come,  And  al  -  most  ev  -  'ry  day 
Al  -  hin  asked  me  first,  and   so         I  joined  the  reel  with  him ; 

f  -r-tt^  -r-,-»-  T-ja  -r.-g-  ■t-m—J^ 


^=£^=S^ 


U 


I    miss    you   at       the 
I  meet  you   in       the 
But     I     was  heav  -  y 


i=N= 


i^Ezp: 


^ 


^^^^#^^^^^^^1^^^^^ 


2; 


wick  -  et  gate,  You  al  -  ways  let  me  through.  It's  ve  -  ry  hard  to  o  -  pen,  But  you 
mea-dows,  And  you  look  the  oth  -  er  way.  You  nev  -  er  bring  me  po  -  sies  r)ow,The 
heart -ed,  And    my      eyes  with  tears  were  dim,       And  oh,    how  ve  -   ry  grave  you  look' d.  As 


nev    -    er  come    to       try.    "j 

last         is  dead  and      dry.    >■     Won't  you  tell     me     why.  Rob-in,     Won't  you    tell    me 

once      we  passed  you    by !    J 


why?      Won't     you      tell      me        why,        Rob -in.       Oh,  wont  you  tell     me  why? 


I?  CLm 


!£= 


-m—m- 


^->-s: 


^^- 


i£=t? 


52 


FRANKLIN-SQUARE   SONG   COLLECTION. 


SILVER   CHIMES. 


Claribel. 


?!=S= 


i^szis: 


p^ 


t^rr-^ 


^tznir- 


M—J^ 


->-ns- 


4=k=|^: 


-f.  J     VV 


iKziiJ: 


i=* 


They  are  chiming  gai  -  ly  now,  as  they  chimed  so  long  a  -  go,    Sil  -  ver  tones  that  we  loved  so 


:t2=^ 


--eiiw-^-^ 


--f=w- 


^ — ^  I U — U   w   k    k   c 


i: 


^^: 


:^^ 


^-y- 


->^-t?- 


^4  y 


^=^: 


:ff=P^ 


P 


12=^: 


liizifcztc 


:*=t2: 


well;         And  what     is        it      that    they   say     To  our       in  -  ner  thoughts  to -day? 


And 


w •■ — ■ — 


what  is  the  tale  that  they  tell  ? 


|j 


:e=B-T^. 


^irbt 


1^-^- 


k  1^ 


I.  rhey  whisper  first  of  all.  In  that  qui -et  e  - 
Of  a  waking  up  to  life.  Of  a  long  and  bit  - 
Of    a     peaceful  life  at     last.    Of     a   sense  of  per 

1^: — !V» — I 1 1 — H F — p  I  M- 


%e: 


ite 


f 


f- 


>->- 


ven 
ter 
•il 

-m- 

1K= 


f-r 


fc^ 


^ 


=1: 


J 1- 


mi 


--^=^ 


^^S^^ 


^ 


'-c?'^ 


fall.       Of     the        hap  -  py    days     of       childhood    that    we  passed;  When 

strife.      Of      a        rest  -  less     spir  -  it       fret  -  ting      in      its  pain;  Of 

past,       Of      a  fu  -  ture    left      in         saf   -  er   hands  than  ours;  Of 

-m-  ^m-  4tL-   -^  -ft  .f^       "     ' 

g=g=Fl r=:p=g=t:^=^=i:=:p: 


each 


ItZI^ 


=W=!»= 


r- 


_i2_ 


^-Bl 


f)  n 

1 

1 
1 

1 

1 

1 

1 

i 

1 
1 

1 

1 
1 

1 

1          1 

-1 
1       1 

1 
1 

1 
1 

V  «■ 

1   ,'   1 

'   I 

^—       _i      1 

—            r 

7^         .     -1     ^     J 

--I 

1 —  ■■-] 

J 

m      m 

k    J 

^       J 

^ 

m   r 

EX 

s    s    s 

5^           m 

s 

S      S 

8 

S      m 

^   r 

tr 

V 

•^     •     • 

J 

-  i     *     —     «. 

-i     • 

*      ».     4P      J  r 

J       -f- 

gar  -  land  that  we 
sea  -  son  when  the 
sweet,  re  -  fresh  -  ing 

-^    -m-    -0- 
/■  \,j, — ^ — ' — - — 1 

made,  Seei 
bells    On 
dew.  Fall 

r  ^ 

Ti'd  too  beau  -ti 

-  ly  racked  us 

-  ing     on     our 

-  ful 
with  t 
lives 

-^-      H 

— 1^ 1 

to 
leir 
a  - 

m- 

cJ 

fade; 
spells, 
new. 

And  each  but  -  ter 
On  -  ly  mocked  us 
As     the    rain  -  drops 

^     ^.    ^     M- 
— /• — f-t— 

fly 
with 
fall 

more 

old 

and 

^^- 

— j 1 

A j— 

— P- 

-W f*- 

-  w     \ 

?2 

-F— ^ 

i^ — U- 

-f- 

— ^ —  - 

^^        1         j 

1                          1 

1       1 

k:          »      1^ 

1 

L. 

^a 



— 

y-^           \m       "- 

F^ 

'            ^     ,    1 

r 

r 

r 

^  r 

r 

1 

1      1 

r 

1 

1 

n  c  ;R[;      After  last  stanza. 


ra  -  diant  than  the  last,  the  last. 
mem  -  o  -  ries  a  -  gain,  a  -  gain, 
sat  -  is   -   fy         the   flowers,  the      flowers. 


They  are    chiming  gai  -  ly   now,   As 

3?: 


they 


m. 


It 


r-^ 


4= 


FRANKLIN-SQUARE   SONG    COLLECTION. 


53 


sto-ry  that  is  told,  Seem  those  memories  of  old,  Haunting  still  with  a  mag  -  ic  spell,  magic  spell. 


^^-=g=l;g 


#_^ 


ir-^^- 


^=t^ 


r-p^ 


^ 


g=e:-r-^ 


it^ 


-i»-!*- 


=P=tt 


f 


-j^_^^- 


1^    1^ 


MY   NORMANDY. 

! 

N 

_^_.      _> 

Frederic  Berat. 

L/    if  o 

iw       k.        •fC     \^     m 

K       1            M 

r       >     1 

*fl\ — ^ 1^ 

1% — d- — i^^ — m-^^id—. — d — 

-5-5?-=^-i«^ 

-f :  ^r*  J  V— ^k 

-g  .  ^^       1    ^-  - 

m-  ^  S 

— 

'—•I — m  .  m — S  .  S — 

-*— ^ F*- 

^-^•^g  :    ^ 

-*-4-*— ,•' P-  - 

1.  When  hope  her  cheering  smile   supplies,          And    win-ter  flies      far,    far       a -way;  Be  - 

2.  I've     seenHel-ve    -  tia'sflow-ery  fields,       Its       cot-tag-es,        its      i     -     cy  hills;  And 

3.  There   is      an     age     in     all     our    lives,        When  ev  -  ry  dream   must  lose     its  spell ;  An 

^^«  tf  0  ^ 

W 

W    •              V        ■ 

^^'-i-r-— 

i 3 — -ha K^ — ha ¥i — 

-T  «-^ 

-•-^ 

m    m  •     m 

■Z — u  r^ '  - 

'^    4    ' 

-1 ^ ^ i< — U* f* — 

^ — 

*-P V- 

-t^ — K-k— k-  - 

r 

1 

k 

r             V 

^        •- 

^t^^=^' 


4^- V 


i^i.i=i!==s=r 


:J=^^^=^ 


iEE2 


J^lt 


^^iv 


lie: 


neath,  dear  France,  thy  beauteous  skies,  WTien  spring  becomes  more  sweet  and  gay 
I  -  ta  -  ly,  thy  sky  so  clear!  And  Ven-ice,  with  her  gon  -  do-lier. 
age       in     which   the   soul      re  -  calls        The     scenes  o'er  which     it      loved    to  dwell 


m 


^ 


;  When 

In 
;  When 


t 


f-^— ^    '^  ■riMzjc.p. 


S^ 


J^-l 


na - ture's  dressed  a  -  gain  in  green.  The  swal  ■  low  to  re  -  turn  is  seen; 
greet -ing  thus  each  for  -  eign  part,  There's  still  one  land  most  near  my  heart, 
e'en    my    muse    shall     si    -  lent  prove.  Per  -  haps  de  -  spise     these  songs     of    love,- 


I 
A 

Tis 

> 


love  a  -  gain  the  land  to  see,  Which  gave  me,  gave  me  birth,  my  Nor- man -dy. 
land  most  cherished,  loved  by  me.  My  na  -five,  na  -  tive  land,  my  Nor- man -dy, 
then     I      hope     the  land    to     see.  Which  gave  me,  gave  me  birth,  my  Nor- man -dy. 


P=^=Jt* 


^^ 


54 


FRANKLIN-SQUARF.    SONG    COLLECTION. 


The  Moonlight  Sonata. — The  Wide-Awake 
Magazine  tells  a  pretty  story  of  the  way  that  Bee- 
thoven composed  this  beautiful  piece  of , music.  He 
was  going  by  a  small  house  one  evening  and  heard 
some  one  playing  his  Symphony  in  F  on  the  Piano. 
He  stopped  to  listen,  and  heard  a  voice  say :  "  What 
would  I  not  give  to  hear  that  piece  played  by  some 
one  who  could  do  it  justice."  The  great  composer 
opened  the  door  and  entered.  "  Pardon  me,"  said 
Beethoven,  somewhat  embarrassed ;  "  pardon  me,  but 
I  heard  music,  and  was  tempted  to  enter.  I  am  a 
musician!"  The  girl  blushed,  and  the  young  man 
assumed  a  grave,  almost  severe  manner.  '•  I  heard 
also  some  of  your  words,"  continued  Beethoven. 
"  You  wish  to  hear,  that  is,  you  would  like — in  short. 


would  you  like  me  to  play  to  you?"  There  was 
something  so  strange,  so  comical  in  the  whole  affair, 
and  something  so  agreeable  and  eccentric  in  Bee- 
thoven's manner,  that  we  all  involuntarily  smiled. 
"Thank  you,"  said  the  young  shoemaker;  "but  our 
piano  is  bad,  and  then  we  have  no  music."  "No 
music?"  repeated  Beethoven,  "how,  then,  did  ma- 
demoiselle— ."  He  stopped  and  colored,  for  the 
young  girl  had  just  turned  towards  him,  and  by  her 
sad,  veiled  eyes  he  saw  that  she  was  blind.  "  I  en- 
treat you  to  pardon  me,"  stammered  he:  "but  I  did 
not  remark  at  first.  You  play,  then,  from  memory  ?" 
"  Entirely  I"  "  And  where  have  you  heard  this  mu- 
sic before?"  " Never,  excepting  the  music  in  the 
streets."  She  seemed  frightened,  so  Beethoven  did  not 


NONE  CAN  TELL. 

^  Con  anima.  , 


Hi. 


W.  H.  Emra,  G.  B.  Allen. 


^ 


^ 


^ 


:t*E=l5E 


^ 


^=^: 


t±t 


i=^S^i 


1.  Child,  is    life  bright      a   -    lone? 

2.  Youth,         is    she    tru    -    ly      thine? 

3.  Bride,         is  there  joy       for      thee? 


*-&; 


None  can  tell. 
None  can  tell. 
None      can     tell. 


Al  -  ways  laugh -ter, 
Will  love's  light  e  - 
Or      will   blue  skies 


fc^ 


\m '  W- 


it5 


^ 


r 


)-s^* 


]rit. 


at=^ 


esfiress. 


■• — al 1- 


^S==^- 


t—J—J^ 


nev  -  er  moan?  None  can  tell.  Will 
ter-  nal  shine?  None  can  tell.  Will 
clouded      be?     None    can     tell.        Will 


spring  flow'rets  bloom  as  sweet,  Un  -  der  care-less 
the  sun  make  glad  thy    day.      Or  will  black  clouds 
the  bright  dream  ne'er  depart.     Or  will  grief,  with 


P^S^^ 


m 


^— ^ 


w   W   W' 


i 


m  p 


^^ 


^ 


■ute 


f 


\/    \/    \/ 


t^— t^- 


V  '^   V  V- 


^ 


^ 


^-K-a 


iEj 


-^ 


:i 


«^^^i^ESE3 


j,  ■  3:  f  Id 


rov  -  ing  feet.  Or  lie  with-er'd  with  the  heat?  None  can  tell.  None  can  tell, 
hide  his  ray,  And  love's  ten  -  der  beams  de- cay?  None  can  tell.  None  can  tell, 
last  -  ing  smart.  Keep  a      dull  grasp   on  thy  heart  ?  None  can     tell,     None   can     tell. 


^^=£=^ 


*=* 


i 


5= 


12=^ 


f 


add  another  word,  but  seated  himself  at  the  instru- 
ment and  began  to  play.  He  had  not  touched  many 
notes  when  I  guessed,  says  the  naiTator,  who  accom- 
panied him,  what  would  follow,  and  how  sublime 
he  would  be  that  evening.  I  was  not  deceived. 
Never,  during  the  many  years  I  knew  him,  did  I 
hear  him  play  as  on  this  occasion  for  the  blind  girl 
and  her  brother  on  that  old  dilapidated  piano.  At 
last  the  shoemaker  rose,  approached  him,  and  said 
in  a  low  voice :  "  Wonderful  man,  who  are  you 
then?"  Beethoven  raised  his  head,  as  if  he  had  not 
comprehended.  The  young  man  repeated  the  ques- 
tion. The  composer  smiled  as  only  he  could  smile. 
"Listen,"  said  he;  and  he  played  the  first  move- 
ment in  the  F  Symphony.     A  cry  of  joy  escaped 


from  the  lips  of  the  brother  and  sister.  They  recog- 
nized the  player  and  cried:  "You  are,  then,  Bee- 
thoven !"  He  rose  to  go,  but  they  detained  him. 
"  Play  for  us  once  more,  just  once  more,"  they  said. 
He  allowed  himself  to  be  led  back  to  the  instrument. 
The  brilliant  rays  of  the  moon  entered  the  curtain- 
less  windows  and  lighted  up  his  broad,  eamest,  and 
expressive  forehead.  "  I  am  going  to  improvise  a 
sonata  to  the  moonlight,"  he  said,  playfully.  He 
contemplated  fot  some  moments  the  sky  sparkling 
with  stars;  then  his  fingers  rested  on  the  piano,  and 
he  began  to  play  in  a  low,  sad,  but  wondrously  sweet 
strain.  The  harmony  issued  from  the  instrument 
as  sweet  and  even  as  the  bright  rays  of  the  beauti- 
ful moonlight  spread  over  the  shadows  on  the  ground. 


FRANKLIX-SQUARE   SONG    COLLECTION, 


55 


EVER  OF  THEE, 

\ fs— fr 


G.  LlNLEY. 

Foley  Hall. 


3^3^ 


^g 


:i=i: 


-^  '<^ 


-~i — — 1= — I — -^ ^- 


--ar-^ 


Modcrafo. 

1.  Ev   -    er  of  thee         I'm    fond    -    ly       dream  -  ing.  Thy      gen   -   tic  voice 

2.  Ev   -    er  of  thee,       when  sad  and     lone  -   ly.  Wand  -'ring        a  -  far 

^-  -^J_. >_^i \ J    J   J r^A 


g-ir    r-^g: 


i 


5 

my 
my 


spir  -  it  can  cheer;  Thou    art  the  star 
soul  joy'd  to  dwell;   Ah!  then   I    felt 


that,  mild  -  ly     beam  -  ing,  Shone  o'er  my  path  when 
I     loved   thee     on  -  ly,     All  seemed  to  fade     be- 

>    J  J  J        J        J  >.  J^^   . 


mmm 


all       was  dark      and  drear:        Still         in       my  heart         thy    forai         I        cher  -    ish, 
fore       af-fec  -  tion's  spell;      Years      have     notchill'd       the     love         I        cher  -    ish. 


Ev  -'ry  kind  tho't  like  a  bird    flies  to  thee.  Ah !    nev  -  er    till  life     and   mem-'ry     per  •  ish, 
True  as  the  stars  hath  my  heart  been  to  thee.  Ah !  nev  -  er    till  life     and   mem-'ry     per-  ish, 


te^ 


:^-^■ 


M 


^If 


■-J    d-w^-==- 


^^■f 


-^i=^ 


Can      I     for-get     how  dear  thou  art  to  me : 
Can      I     for-get    how  dear  thou  art  to  me 


Morn,  noon  and  night,  where'er    I    maybe, 
Mom,  noon  and  night,  where'er    I    may  be. 


Fond  -  ly  I'm  dreaming 
Fond  -  ly  I'm  dream-ing 


ev  -  er     of  thee;  Fond  -  ly  I'm  dream-ing 
ev  -  er     of  thee ;  Fond  -  ly  I'm  dream-ing 


ev  -  er     of  thee, 
ev  -  er    of  thee. 


56 


FRANKLIN-SQUARE  SONG  COLLECTION. 


Echoes. — Try  to  imagine  that  you  see  the  sound- 
waves spreading  all  around  you,  striking  on  your 
ears  as  they  pass,  then  on  the  ears  of  those  behind 
you,  and  on  and  on  in  widening  globes  till  they 
reach  the  wall.  What  will  happen  when  they  get 
there?  If  the  wall  were  thin,  as  a  wooden  partition 
is,  they  would  shake  it,  and  it  again  would  shake 
the  air  on  the  other  side,  and  so  any  one  in  the  next 
room  would  have  the  sound  of  my  voice  brought  to 
their  ear.  But  something  more  will  happen.  In  any 
case  the  sound-waves  hitting  against  the  wall  will 
bound  back  from  it  just  as  a  ball  bounds  back  when 
thrown  against  any  hard  surface,  and  so  another  set 
of  sound-waves  reflected  from  the  wall  will  come 
back  across  the  room.    If  these  waves  come  to  your 


ear  so  quickly  that  they  mix  with  direct  waves,  they 
help  to  make  the  sound  louder.  For  instance,  if  I 
say  "  Ha,"  you  hear  that  sound  louder  in  this  room 
than  you  would  in  the  open  air,  for  the  "  Ha"  from 
my  mouth  and  a  second  "  Ha"  from  the  wall  come 
to  your  ear  so  instantaneously  that  they  make  one 
sound.  This  is  why  you  can  often  hear  better  at 
the  far  end  of  the  church  when  you  stand  against  a 
screen  or  a  wall,  than  when  you  are  halfway  up  the 
building  nearer  the  speaker,  because  near  the  wall 
the  reflected  waves  strike  strongly  on  your  ear  and 
thus  make  the  sound  louder.  Sometimes,  when  the 
sound  comes  from  a  great  explosion,  as  of  gunpow- 
der or  dynamite,  these  reflected  waves  are  so  strong 
that  they  are  able  to  break  glass.     Now,  suppose  the 


HE  GIVETH  HIS  BELOVED  SLEEP. 


Franz  Abt. 

T.  C.  TlLDESLEY. 


I.  Sor-row  and  care  may  meet, 
din        of   war  may     roll, 
child-hood's  winsome  page. 


The  tem  -  pest  cloud  may 

"With  all     her   rag  -  ing 

In    man-hood's  joy- ous 


low'r, 
flight, 
bloom, 


The    surge     of    sin    may 

Grief  may  oppress  the 

In     feeble -ness  and 


beat  Up-  on   earth's trou-ble.d. shore;      God  doth 

soul.         Throughout  the  ^wea  -  ry     night ;      God  doth 
age.  In   death's  dark  gathering  gloom,      God  will 


His  own 
His  own 
His  own 


safe  -  ty  keep, 
safe  -  ty  keep, 
safe    -    ty    keep, 


m^5E£ 


i^=tf=^»=^ 


^^ 


4-s 1 ha — L 


f 


M 


m 


be  -  lov  -  ed  sleep,  He  giv-eth  His 

be  -  lov  -  ed  sleep,  He  giv-eth  His 

be  -  lov  -  ed  sleep,  He  giv  -  eth  His 

re 


^ 


3=g^H=i 


z4^: 


^=^=^ 


He  giv-eth  His 
He  giv-eth  His 
He  giv-eth 


His 


be  -  lov     -     -      ed  sleep.    2.  The 
be  -  lov     -     -      ed  sleep.    3.  In 
be  -  lov     -     -     ed  sleep. 


m 


+— . k— U, 1-^ 1^.5 1 1-^ . 1 ^ ^ 


pia 


r-u-k=tg 


:^=t2: 


i^ctp 


r=r 


wall  were  so  far  behind  you  that  the  reflected  sound- 
waves hit  upon  your  ear  only  after  those  coming 
straight  from  me  had  died  away;  then  you  would 
hear  the  sound  twice,  "Ha"  from  me  and  "Ha" 
from  the  wall,  and  here  you  have  an  echo, "  Ha,  ha." 
For  this  to  happen  in  ordinary  air,  you  must  be 
standing  at  least  56  feet  away  from  the  point  from 
which  the  waves  are  reflected,  as  then  the  second 
blow  will  come  one-tenth  of  a  second  after  the  first, 
and  that  is  long  enough  for  you  to  feel  them  sepa- 
rately. Miss  Martineau  tells  a  story  of  a  dog  that 
was  terribly  frightened  by  an  echo.  Thinking  an- 
other dog  was  barking,  he  ran  forward  to  meet  him, 
and  was  very  much  astonished  when,  as  he  came 
nearer  the  wall,  the  echo  ceased.  I  myself  once 
knew  a  case  of  this  kind,  and  my  dog,  when  he 


could  find  no  enemy,  ran  back  barking,  till  he  was 
a  certain  distance  off,  and  then  the  echo,  of  course, 
began  again.  He  grew  so  furious  at  last  that  we 
had  much  difficulty  in  preventing  him  from  flying 
at  a  strange  man  who  happened  to  be  passing  at  the 
time.  Sometimes,  in  the  mountains,  walls  of  rock 
rise  at  some  distance  one  behind  another,  and  then 
each  one  will  send  back  its  echo  a  little  later  than 
the  rock  before  it,  so  that  the  "  Ha  "  which  you  give 
will  come  back  as  a  peal  of  laughter.  There  is  an 
echo  in  Woodstock  Park  which  repeats  the  word 
twenty  times.  Again  sometimes,  as  in  the  Alps,  the 
sound-waves  in  coming  back  rebound  from  moun- 
tain to  mountain  and  are  driven  backwards  and  for- 
wards, becoming  fainter  and  fainter  till  they  die 
away.  These  echoes  are  very  beautiful. — Buckley. 


FRANKLIN-SQUARE   SONG    COLLECTION, 


57. 


CROWN  HIM  WITH  MANY  CROWNS. 


M.  Bridges. 

G.  J.  ElVEY.     "  DiADEMATA. 


1.  Crown  Him  with  ma  -  ny  crowns,  The  Lamb  up  -  on     His  throne ;  Hark !  how  the  heavenly 

2.  Crown  Him  the  Lord  of    Love !     Be-hold  His  hands  and  side, — Those  wounds,  yet  vis  -  i  - 

3.  Crown  Him  the  Lord  of    Peace!  Whose  power  a  seep  -  tre  sways      In  heaven  and  earth,  that 

4.  Crown  Him  the  Lord  of  Heaven !  One  with  the      Fa  -  ther  known, — And  the  blest  Spir  -  it. 


^gaiEEjEi 


-I*  p 


:!■=*-: 


i^-"-r 


W- — I ^ — ^ 


t=t 


1 


t2=t2: 


P 


P 


-m 1 1- 


i 


^ 


4?*i    ^- 


-^ 


:ir-^ 


atz*: 


■^t 


ii=r=g: 


^^i*- 


an  -   them  drowns  All     mu  -  sic      but     its    own!      A -wake,  my    soul,   and  sing  Of 

ble      a     -     bove.    In    beau  -  ty       glo  -  ri  -  fied:      No    an  -  gel      in      the  sky  Can 

wars  may     cease,  And   all      be    prayer  and  praise.    His  reign  shall  know  no  end;  And 

through  Him  given  From  yon-der      Tri  -  une  throne !  All    hail.    Re  -  deem  -  er,  hail !  For 


Him  who  died  for  thee; 
ful  -  ly  bear  that  sight, 
round  His  pier-ced  feet, 
Thou  hast  died  for     me : 


.ci- 


jtT%^^-f-f 


And  hail  Him  as  thy  matchless  King  Through  all  eter  -  ni 
But  downward  bends  his  wondering  eye  At  myster-ies     so 
Fair  flowers  of  Par  -  a  -  dise  ex  -  tend  Their  fragrance  ever 
Thy  praise  and  glo-ry  shall  not   fail  Throughout  e  -  ter  •  ni 

I  I  Ik 


-  *y- 

bright, 
sweet. 
■   ty. 


1^^ 


:t 


ESEffl 


THE   CHAPEL, 


Words  by  Uhland. 


5-2- 


B=ia.=^ 


3: 


-r±. 


^-- 


iri: 


zi=^ 


T^^-^-: 


r  r  r  f-  r  rr 

1.  See        yon  chap  -  el      on        the   hill, 

2.  Sad    -    ly  chants   the  choir       a  -  long ; 

3.  Those  who  once     had  smiled    in    joy, 


r 


T 

Calm  it    looks     o'er   all        the  plain; 

Sad    -  ly  sounds   the  chap  -   el  bell ; 

To  the  bur   -    ial   there    they  bring; 


PpSEg 


IS: 


i 


^ 


g=gTS=Kg 


r 


t2-. 


r 


:t=t| 


f 


-^-- 


£*: 


n 


^m 


--r? 


-^- 


^^i 


2:± 


^ 


c 


rp=r 


■r^*- 


Cheer  -  ful  -  ly         by    mead     and   rill, 
Hush'd   is     now      the  shep  -  herd's  song, 
Shep  -  herd  boy !     Oh,  shep  -   herd  boy ! 


■mi 


4 


I 

Sings      the  shep  -  herd  boy  his 

And        he    lis    -   tens   in  the 

O'er       thee  too       they  yet  will 


strain, 
dell, 
sing. 


i 


^=f 


m=::;;:m 


f— rt  ^\''^f 


58 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Influence  of  Music. — Man  is  as  much  a  child 
of  the  beautiful  as  he  is  of  wisdom  or  genius,  Na- 
ture never  drives  us  if  she  can  avoid  it;  she  prefers 
to  allure  us.  She  makes  all  things  charming.  She 
paints  the  fields  and  the  woods  that  we  may  go  to 
them,  led  by  affection.  She  makes  the  face  of  youth 
beautiful,  throws  color  on  the  cheek,  and  makes  the 
lines  of  smiles  and  laughter  come  and  go,  and  she 
sends  the  soul  into  the  eyes,  that  young  years  may 
build  up  everlasting  frienship.     Yielding  to  his  Di- 


vine Master's  guidance,  man  follows  the  beautiful, 
and  to  the  idea  of  home  or  temple  or  garden  or  city, 
he  comes  with  both  hands  full  of  ornament.  He 
claims  for  his  house  and  his  dress  what  God  gives 
to  the  peach,  or  the  leaf,  or  the  rose.  In  this  deep 
philosophy  music  comes  as  the  decoration  of  a 
thought.  Man  submits  his  truths  to  several  steps 
of  this  ennobling  work.  He  found  them  in  prose 
and  he  asks  Milton  or  Dante,  or  Tennyson  or  Long- 
fellow to  frame  them  into  poetry,  but  not  yet  satisfied 


:'VE  BEEN  ROAMING. 

^     h     N    . 


^ 


J!!-Jt 


i 


Chas.  E.  Horn. 


^^ 


:E 


=t: 


i^ 


*=*=>-- 


Lively. 


1.  I've  been  roam  -  ing,  I've  been  roam  -  ing  Where  the  mea-dow  dew 

2.  I've  been  roam -ing,  I've  been  roam -ing      By     the  rose    and     lil   - 

3.  I've  been  roam -ing,  I've  been  roam -ing  Where  the  hon  -  ey  -  sue  ■ 

4.  I've  been  roam  -  ing,  I've  been  roam -ing     O  -   ver  hill     and     o    - 


y 

kle 


sweet ; 
fair; 
creeps; 
plain; 


^^ 


S^: 


r     f     #— .-=g=^: 


I 


-^   f   r 


ii=^: 


^ 


i-fi^ 


i 


^^^^ 


^^ K F 


^ 


i^fcS 


And  I'm  com  -  ing,  and  I'm  com  -  ing  With     its  pearls  up  -  on 

And  I'm  com  -  ing,  and  I'm  com  -  ing  With   their  blos-soms    in 

And  I'm  com  -  ing,  and  I'm  com  -  ing  With      its  greet  -  ing     on 

And  I'm  com  -  ing,  and  I'm  com  -  ing     To       my  bow  •  er    back 


my 


feet,  1 
my      hair,  > 

"    35.  S 


my 
a    - 


lips, 
gain, 


I've  been 
O  -  ver 


m 


-y— r 


0 — ^ — F-     u      u      F g-  ^ — F — » — !• — I »• 


:t?=U 


r—t 


:!t±U: 


»-tv— t?- 


1/     ^ 


R=S= 


^ 


*=« 


*=^=^ 


(4) 

m 


roam  -  ing,     I've     been     roam  -  ing       Where     the 
hill,       and       o    -    ver         plain,  To        my 


mea  -  dow     dew 
bow   -   er      back 


sweet, 
gain, 


m 


^ 


:5l=*: 


m. 


3E3EES 


^1)=* 


p     »     t- 


(4) 

m 


And     I'm    com  -  ing,     and     I'm     com  -  ing    W^ith 
And     I'm    com  -  ing,     and     I'm     com  -  ing      To 


3g^-r — r— g: 


its    pearls    up  -    on       my      feet, 
my    bow  -   er      back     a    -    gain. 


^=51: 


=■!=*: 


lEgE^^ 


:^cz=|b: 


^ 


t^=t2 


be  takes  the  thought  to  the  great  musician  and  asks 
Mozart  or  Weber  or  Schubert  to  pour  still  more 
color  on  the  blessed  thought.  It  was  not  enough 
for  the  Greeks  that  some  of  their  truth  took  the 
poetic  form  of  the  drama,  it  must  also  be  sung  on 
the  stage,  so  that  between  the  uplifted  hands  of  both 
Poetry  and  Music  all  might  see  how  sorrowful  was 
QEdipus  or  how  sweet  Antigone.  Thus  all  through 
its  history,  music  has  ever  been  the  final  decoration 


of  a  sentiment.  Poetry  has  done  much  when  it  has 
gathered  up  some  of  the  pensive  meditations  of 
man  when  he  draws  near  his  long  home  and  has 
called  this  rhythmical  arrangement  a  poem.  Even 
read  to  us,  its  flow  of  harmonious  feet  is  impressive; 
but  when  Mozart  goes  further,  and  wreathes  those 
words  with  his  composition  into  a  requiem,  then  is 
the  cup  of  our  realization  full,  and  all  the  pomp  and 
splendor  of  earth  sink  like  the  summer  sun. — Swing. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


59 


FLOW  GENTLY,  SWEET  AFTON. 


J.  E.  Sptlman. 
Words  by  Robert  Burns. 


S 


iS^^^^^pi 


I 

1.  Flow  gent-ly,    sweet  Af  -  ton,  a  -  mang  thy  green  braes ;  Flow  gent-ly,   I'll    sing  thee  a 

2.  How  loft-ty,     s\\eet  Af  -  ton,  thy    neighbor-ing     hills,     Far  marked  with  the  courses    of 

3.  Thy     crys-tal  stream,  Af  -  ton,  how  love -ly      it     glides,  And  winds  by  the  cot  where  my 


^^^ 


te^iii^^^^ 


^^g^^^JjJjUsUgijJ^ 


song  in    thy   praise;  My    Ma- ry's  a  -    sleep  by   thy    murmur  -  ing  stream,  Flow  gent-ly, sweet 
clear-winding   rills ;  There  dai  -  ly     I        wan-der,  as     mornris-es     high,    My  flocks  and  my 
Ma  -  ry     re  -  sides !  How  wan-ton  thy     wa-tersher   snow-y    feet    lave,    As    gath'ring  sweet 


s 


SMS: 


*-J- 


3EEi 


■BLje:- 


I 


r-r- 


■m=ez 


p 


tP=|B 


f 


r 


^ 


r 


1  I 


^^i 


Af  -  ton,  dis  -  turb  not  her  dream.  Thou  stock-dove,  whose  e  -  cho  re  -  sounds  from 
Ma -ry's  sweet  cot  in  my  eye.  How  pleas -ant  thy  banks  and  green  val  -  leys 
flowerets,  she  stems  thy    clear  wave !    Flow  gent  -  ly,   sweet   Af  -  ton,  a  -   mang   thy 


the 

be- 

green 


m 


% 


E^S 


■^ 


s  _■ 


P^pn^ru 


F 


■^- 


^E^ite^jEt^^^Egd^ 


-Jtj. 


^- 


hill.  Ye  wild  whistling  black -birds  in  yon  thorn-y 
low.  Where  wild  in  the  woodlands  the  prim-ros  -  es 
braes.    Flow  gent-ly, sweet  riv  -  er,     the     theme  of     my 


den.     Thou  green-crest  ■ 
bio  w !  There  oft,      as 
lays :      My    Ma  -  ry's 


ed 
mild 
a  - 


m 


~-W=W 


pizpzup: 


1=21 


J— J— W^ 


H^^^^i^^p 


lap-wing,  thy  screaming  for  -  bear,  I  charge  you,  dis  -  turb  not  my  slum  -  ber  -  ing  fair, 
evening  creeps  o  -  ver  the  lea.  The  sweet-scented  birk  shades  my  Ma  -  ry  and  me. 
sleep  by  thy    mur-mur-ing   stream.  Flow  gent-ly,  sweet  Af- ton,  dis  -  turb   not    her  dream. 


^ 


n- 


'-J^-^ 


H 


6o 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Hymn  Titnes. — The  tunes  which  burden  our 
modem  books,  in  hundreds  and  thousands,  utterly 
devoid  of  character,  without  meaning  or  substance, 
may  be  sung  a  hundred  times,  and  not  a  person  in 
the  congregation  will  remember  them.  There  is 
nothing  to  remember.  They  are  the  very  emptiness 
of  fluent  noise.  But  let  a  true  tune  be  sung,  and 
every  person  of  sensibility,  every  person  of  feeling, 
every  child  even,  is  aroused  and  touched.  The  mel- 
ody clings  to  them.  On  the  way  home  snatches  of 
it  will  be  heard  on  this  side  and  on  that;    and  when 


the  next  Sabbath,  the  same  song  is  heard,  one  and 
another  of  the  people  fall  in,  and  the  volume  grows 
with  each  verse,  until  at  length  the  song,  breaking 
forth  as  a  many-rilled  stream  from  the  hills,  grows 
deeper  and  flows  on,  broad  as  a  mighty  river !  Such 
tunes  are  never  forgotten.  They  cling  to  us  through 
our  whole  life.  We  carry  them  with  us  upon  our 
journey.  We  sing  them  in  the  forest.  The  workman 
follows  the  plow  with  sacred  songs.  Children  catch 
them,  and  singing  only  for  the  joy  it  gives  them 
now,  are  yet  laying  up  for  all  their  life  food  of  the 


i 


g 


giS: 


JESUS,  LOVER  OF  MY  SOUL 


^ 


^: 


^- 


^ 


m 


^"^9^^ 


Franz.  Abt. 
Chas.  Wesley,  1740. 


S?E!S 


1.  Je  -    sus,  lov  -  er    of      my  soul,       Let     me    to 

2.  0th  -  er     ref  -  uge  have    I     none;  Hangs  my   help 
._    3.  Plenrteous  grace  with  Thee  is   found,  Grace   to     par 


to  Tl 


*^ 


^E^ 


mil 


hy  bo  -  som  fly.  While  the  ' 
less  soul  on  Thee ;  Leave,  ah ! 
don    all      my    sin ;       Let    the 


XT 

bil  -  lows  near  me  roll.    While  the 
leave  me  not    a  -  lone,     Still    sup  ■ 
heal-ing  streams  abound ;  Make  and 


tem-pest  still    is     high!    Hide  me,  O    my  Sa-viour, hide, 
port  and  com-fort  me !      All      my  trust  on  Thee  is    stayed, 
keep  me  pure  with-in !     Thou    of    life  the  Fountain  art, 


Till  the  storms  of  life  are     past; 
All  my  help  from  Thee  I     bring; 
Free-ly    let      me   take  of   Thee; 


Safe      in         ■         to 
Gov  -   er  my 

Spring  Thou  up 


the         ha       -       ven        guide; 

de    -     fence     -     less        head 

with   -    in my        heart ! 


^i^^l 


m 


J  ri-j^ 


*s 


f=2- 


m 


^ 


J;^-* 


i 


i 


S 


f 


3= 


F^ 


■?s*— -i 


^ 


r± 


^- 


Oh,  re  -  ceive   my      soul 

With       the    shad  -  ow       of 
Rise         to      all       e   -    ter 


^ 


J^ 


^ 


at      last!      Oh,        re   - 
Thy    wing!    With     the 
ni    -   ty!        Rise      to 


i 


^± 


W 


ceive    my     soul  at    last! 

shad  -  ow      of  Thy  wing ! 

all       e    -    ter      -      ni  -  ty. 


sweetest  joy.  Such  tunes  give  new  harmony  and 
sweetness  even  to  the  hymns  which  float  upon  their 
current.  And  when  some  celestial  hymn  of  Wesley 
or  of  the  scarcely  less  than  inspired  Watts,  is  wafted 
upon  such  music,  the  soul  is  lifted  up  above  all  its 
ailments  and  rises  into  the  very  presence  of  God, 
with  joys  no  longer  unspeakable,  though  full  of  glory. 
In  selecting  music,  we  should  not  allow  any  fastid- 
iousness of  taste  to  set  aside  the  lessons  of  experience. 
A  tune  which  has  always  interested  a  congregation. 


which  inspires  the  young,  and  lends  to  enthusiasm  a 
fit  expression,  ought  not  to  be  set  aside  because  it 
does  not  follow  the  reigning  fashion  or  conform  to 
the  whims  of  technical  science.  There  is  such  a 
thmg  as  Pharisaism  in  music.  Tunes  may  be  faulty 
in  structure,  and  yet  convey  a  full-hearted  current  that 
•will  sweep  out  of  the  way  the  worthless,  heartless 
trash  whose  only  merit  is  a  literal  correctness.  When 
a  tune  has  been  found  to  do  good  work,  it  should  be 
used  for  what  it  does  and  can  do. — H.  W.  Beecher. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


6x, 


QUIET,  LORD,  MY  FROWARD  HEART 


W.  H.  Monk. 
John  Newton,  1779. 


^ 


:i=* 


:S===ii: 


^=S=5=g=hg 


1.  Qui   -    et.        Lord,   my       fro  -  ward  heart,     Make  me   teach  -  a  -   Lie    and    mild, 

2.  What     Thou   shalt     to   -    day      pro  -  vide,       Let     me      as       a      child    re  -  ceive; 

3.  As  a  lit   -   tie       child      re    -    lies         On       a      care     be  -  yond   his     own, 


m 


=?-=fe?=*=?=E# 


-f—r-- 


i 


:^=n 


-^ 


-^—^- 


e 


i 


^ 


^ 


tt 


^ 


=3=* 


--S-- 


Up  -  right,  sim  -  pie,  free  from  art. 
What  to  -  mor  -  row  may  be  -  tide, 
Knows  he's       neith  -  er     strong    nor       wise, 


Make  me  as  a  lit  -  tie  child; 
Calm  -  ly  to  Thy  wis  -  dom  leave; 
Fears     to      stir      or        step     a  -   lone. 


^— f^-«— hT^ 


wm 


^^B 


& 


iS 


^=^ 


:*=i-:it 


:^ 


From  dis  -  trust  and  en  -  vy  free, 
'Tis  e  -  nough  that  Thou  wilt  care; 
Let       me         thus     with   Thee       a     -     bide 


Pleased  with  all     that     pleas  -  es    Thee. 
Why  should  I       the       bur  -  den   bear? 
As     my   Fath  -  er,     Guard,  and  Guide. 


i^A..^ 


^^^ 


r — e 


Pl^ 


:^ 


GENTLY  LEAD  US. 

4 


i 


Thos.  Hastings. 

Ithamar  Conkey.  "Rathbun. 

By  per.  O.  Ditson  &  Co. 


^Z 


-J?-  - 


4- 


1.  Gent  ■ 

2.  W^hen 

3.  In 

4.  When 


3: 


r^7«^^=*='3=5'S=r*=-r=^ 


-SH 


ly,  Lord, 
temp  -  ta  - 
the  hour 
this  mor  ■ 


oh    gent   -   ly    lead     us  Through  this  gloom  -  y      vale 

tion's  darts      as  -  sail      us     When     in     de   -   vious  patl.s 

of     pain      and   an  -  guish,     In      the  hour     when  death 

tal     life         is     end  -  ed.       Bid      us     in       Thine  anr.s 


of 

we 

draw 

to 


tears: 
stray, 

s  near, 
rest, 


S 


£ 


4 


^^.^: 


-g- 


^ 


*«=*=£ 


r 


^ 


i 


I 


^ 


133=5 


W 


st» 


Thro'     the  chang  -    es    Thou'st  de  -  creed  us.         Till     our   last   great    change  ap  -  pears. 


Let       Thy  good  -   ness  nev 

Suf   -     fer   not  our   hearts      to 

Till         by     an     -     gel     bands      at 


z"^- 

P 


i 


£U 


fail  us,  Lead  us  in  thy  per  -  feet  way. 
lan-guish,  Suf  -  fer  not  our  souls  to  fear, 
tend  -  ed,        We    -  a  -  wake     a   -    mong   the   blest. 


w  i»  *- 


^^T^-J-J 


^ 


P 


S— ^-  =  : 


62 


FRANKLIN-SQUARE   SONG    COLLECTION. 


THE  MAY  QUEEN, 


Alfred  Tennyson. 
Wm.  R.  Dempster,  1845. 


Ue,^^ 


1.  You  must  wake  and  call       me   ear   -    ly,    call       me  ear    -    ly,  moth  -  er    dear;  To - 

2.  Lit  -  tie     Ef  -    fie      shall  go      with    me         to-mor  -  row    to       the  green,  And 

3.  The  night  winds  come  and  go,     moth-er,        up -on        the  mead-ow  grass.  And 


MBi 


^^=U=^  ?  ULU^^ 


M  \^    1^ 


i 


pp^=^-4^-4 


tz 


^' 


s^ 


^5 


^ 


t) 


mor  -  row    will     be         the  hap  -  pi  -   est     time       of    all        the    glad     New   Year;  Of 

you'll  be    there      too,    moth      -      -      er,        to    see       me   made     the     Queen;      The 

the     hap  -  py    stars         a  -  bove        them  seem      to  bright  -  en       as       they    pass;         There 


m 


^fep  u^  t  irj^ 


i 


i^ 


5=a5E^ 


all  the     glad      New  Year,    moth-er,      themad-dest,      mer  -  ri  -    est  "day: 

shep  -  herd    lads        on     ev     -    'ry       side  will   come      from    far       a  -  way, 

will        not      be  a     drop        o'        rain    the  whole  o'  the     live  -  long  day. 


I'm     to     be  Queen  o'    the  May, mother,  I'm    to     be  Queen  o'   the     May.  I 

I'm     to      be  Queen  o'    the  May,  mother,  I'm     to     be  Queen  o'   the     May,  All 

I'm     to      be  Queen  o'    the  May,  mother,  I'm     to     be  Queen  o'    the     May.  So  you  must 


■J — j-^ 


^T 


If     you 
And    the 
To    - 


sleep 
wake 


so  sound  all  night,  moth  -  er,  that  I  shall  nev  - 
the  val  -  ley,  moth  -  er,  will  be  fresh  and  green 
and    call       me    ear      -       ly,     call     me   ear    -    ly,   moth- 


and 


wake, 

still, 

dear, 


^*T=g=l 


s-^eL 


fi=C=fcfc=£=&^^ 


^ 


ST%   ^—% 


:^=t?: 


^^ 


M 


-¥ — ti»— ^ 


J       J    ^ 


^=^ 


1^=^ 


SE 


do  not  call  me  loud  when  the  day  be  -  gins 
cow  -  slip  and  the  crow  -  foot  are  o  -  ver  all 
mor  -  row'U  be  the  happiest  time      of      all         the     glad 

Iff: 


to 

the 
New- 


break: 

hill. 

Year, 


But 
The 
To- 


* 


t 


P_g-   if— f 


:U--=t: 


M 


By  permission  Oliver  Ditson  &  Company,  Boston. 


m 


FRANKLIN-SQUARE   SONG    COLLECTION. 

N     N     I       i  -T-H ■     !        -J c 1 K- 


^ 


m 


i 


a(=i^ 


f 


f=f=^ 


?t=^ 


13*: 


-^^ — *- 


I    must  gath  -  er  knots       of  flowers,  and      buds  and    gar  -  lands     gay,  For 

rivulet      in      the         flow  -    'ry     dale      will      mer  -  ri  -  ly  glance    and       play  For 

morrow'll  be      of  all         the  year,     the       mad     -     dest    mer-ri-est        yet,  For 


I  m      to      be  Queen  o'      the     May,    mother,      I'm      to    be  Queen  o'  the         May. 


m 


-^    ^    p  =p^ 


-^Tp-^rf^^^^Ff^g^ 


GOOD-BYE." 


i 


S 


&=a^S^2^ 


^         ^         % 


r=5^ 


t    ^d 


J.  C.  Engklbrecht. 


^ 


1.  Farewell,    fare- well    is       a 

2.  Farewell,    fare-well  may   do 


I 

lone 

for 


r" 


U:*M 


ly  sound  And     al  -  ways   brings     a     sigh, 
the  gay.  When  pleas-ure's   throng     is     nigh. 


1/ 
But 
But 


m 


^^^^^ 


to       me        when  loved    ones  part.   That  sweet    old      word,  "good-bye,"  That 


when  loved    ones  part.   That  sweet    old      word,  "good-bye," 
that     bet  -    ter    word,  That  comes  from  the  heart,"good  -  bye," 


P       P 


That 


^ 


«=ff: 


t 


-1^ 


innji^i 


iszisj: 


^=i_i_g_M 


:^=^ 


sweet      old        word,     "good-bye,"         That 
comes    from     the  heart, "  good-bye,"         That 


sweet       old       word      "good-bye,"  But 

comes     from     the  heart, "  good-bye,"  But 


m 


^^ 


m^ 


^ 


Ml 


S^^ 


i 


»3^ 


f 


# 


S-     S.'4r~:i—-irSr-^ 


^^^ 


-^—^ 


give 
give 


to 
to 


me, 

me 


^ 


:«=1* 


JZ 


when  loved  ones  part, 
that     bet  -    ter  word. 


That  sweet    old       word,  "good -bye." 
That  comes  from     the  heart, "  good-bye.' 


^-^-J^ 


^ 


i 


-*-^ 


Adieu.  adieu  we  hear  it  oft 

With  a  tear,  perhaps  with  a  sigh, 
But  the  heart  feels  most  when  the  lips  move  not, 

And  the  eye  speaks  the  gentle  "good-bye," 


Farewell,  farewell,  is  never  heard. 
When  the  tear's  in  the  mother's  eye. 

Adieu,  adieu,  she  speaks  it  not. 

But,  "  My  love,  good-bye,  good-bye," 


64 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Hymn  Writers. — We  have  sought  for  hymns  in 
the  books  of  every  denomination  of  Christians.  There 
are  certain  hymns  of  the  sacrifice  of  Christ,  of  utter 
and  almost  soul-dissolving  yearning  for  the  benefits 
of  His  mediation,  which  none  could  write  so  well  as 
a  devout  Roman  Catholic.  Some  of  the  most  touch- 
ing and  truly  evangelical  hymns  in  the  Plymouth  Col- 
lection we  have  gathered  from  this  source.  We  have 
obtained  many  exquisite  hymns  from  the  Moravian 
collections,  developing  the  most  tender  and  loving 
views  of  Christ,  of  His  personal  presence,  and  gentle 
companionship.     We  know  of  no  hymn-writers  that 


equal  their  faith  and  fervor  for  Christ  as  present  with 
his  people.  Nor  can  any  one  conversant  with  these 
fail  to  recognize  the  fountain  in  which  the  incom- 
parable Charles  Wesley  was  baptized.  His  hymns 
are  only  Moravian  hymns  re-sung.  Not  alone  are  the 
favorite  expressions  used  and  the  epithets  which  they 
loved,  but,  like  them,  he  beholds  all  Christian  truths 
through  the  medium  of  confiding  love.  The  love- 
element  of  this  school  has  never  been  surpassed.  To 
say  that  we  have  sought  for  hymns  expressing  the 
deepest  religious  feeling,  and  particularly  the  senti- 
ments of  love,  and  trust,  and  divine  courage,  and 


FLEE  AS  A  BIRD. 


Spanish  Melody. 
Mary  S.  B.  Dana,  18/ 


■^ 


-^-' 


I    Expression. 

1.  Flee    as     a  bird   to  your     moun     -     tain, 

2.  He    will  protect  thee  for  -  ev     -      -     cr, 


'^Z~Z^ 


Thou  who  art  wea  -  ry      of        sin ; 
Wipe   ev  -  e-ry     fall  -  ing      tear; 


-rrr-- 


T^ 


:!=-.; 


^ 


^ 


m 


^ 


^ 


agitato. 


f 


>=^ 


^I3i^ 


^^ 


^ 


*^^^ 


Go    to  the  clear-flowing    foun  -  tain,  Where  you  may  wash  and  be  clean ;  Hy,  for  th' a-venger  is 
He  will  forsake  thee,  Oh,  nev    -    er,      Sheltered  so  ten-der- ly  there!     Haste  then,  the  hours  are 


[ig^E^E?^ 


near        thee.        Call,  and  the  Sav  -  iour  will    hear 
fly      -      ing,       Spend  not  the  mo  -  ments  in     sigh 

-^ — ^  r-'.-r 


thee, 
ing, 


He     on     His  bo  -  som  will 
Cease  from  your  sor  -  row  and 


^ 


■mr- 


^ 


i=^: 


!»<►— 5f' 


^=4: 


-+ 


P 


Si^Ef; 


ta:: 


-9 — ¥- 


-^^=^ 


^^ 


a^^^^^^^^^^^^^p 


ear  '    thee;     Oh,thou  whoartwea  -  ry    of    sin.     Oh,   thou 
cry     -      ing.     The  Sav-iour  will  wipe  ev-'ry    tear.    The     Sav- 


who  art  wea  -  ry     of    sin. 
iour  will  wipe  ev  -  '1  y     tear, 


r 


-rrr- 


^ 


T=^ 


^=^ 


-n-i- 


T»»— 5^ 


^I^ 


^     ^ 


r 


^  ^ 


hopefulness,  is  only  to  say  that  we  have  drawn  largely 
from  the  best  Methodist  hymns.  The  contributions 
of  the  Wesleys  to  hymnology  have  been  so  rich  as 
to  leave  the  Christian  world  under  an  obligation 
which  cannot  be  paid  as  long  as  there  is  a  struggling 
Christian  brotherhood  to  sing  and  be  comforted  amid 
the  trials  of  this  world.  Charles  Wesley  was  pecul- 
iarly happy  in  making  the  Scriptures  illustrate  Chris- 
tian experience,  and  personal  experience  throw  light 
upon  the  deep  places  of  the  Bible.  Some  of  his  effu- 
sions have  never  been  surpassed.  Nor  are  there  any 
hymns  that  could  more  nobly  express  the  whole  ecstasy 


of  the  apostolic  writings  in  view  of  death  and  heaven.  , 
Cowper,  Stennet,  Newton,  Doddridge,  and  many 
other  familiar  authors,  will  be  found  in  every  collection 
that  aspires  to  usefulness.  With  whatever  partiality 
to  Dr.  Watts  we  may  have  begun  our  work,  a  compar- 
ison of  his  psalms  and  hymns  with  the  best  effusions  of 
the  best  hymn-writers  has  only  served  to  increase  our 
admiration,  and  our  conviction  that  he  stands  above  all 
other  Engli.sh  writers.  Nor  do  we  believe  any  other 
man,  in  any  department,  has  contributed  so  great  a 
share  of  enjoyment,  edification,  and  inspiration  to 
struggling  Christians  as  Dr.  Watts. — H.  IV.  Beecher. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


PRAISE  TO   GOD. 


Anna  L.  Barbauld,  1773. 
Sebastian  Bach.     "  Nuremberg.' 


t 


^  1: 


=t 


i^5^ 


f 


^^- 


1.  Praise 

2.  Flocks 
3-  AH 

4.  Lord, 


to 

that 
that 
lor 


God,      im  -  mor  -  tal    praise.  For      the  love      that  crowns  our  days; 

whit   -   en      all       the    plain,  Yel  -   low  sheaves  of        ri   -  pened  grain, 

spring,  with  bounteous   hand.  Scat  -  ters  o'er       the      smil  -  ing  land; 

these      our  souls  shall  raise  Grate  -  ful  vows     and      sol  -  emn  praise : 


^S 


^^E# 


Iff:    -^^ 


E 


w — 1«- 


t^ 


=T 


^=1= 


W 


-^ 


»-=^ 


--*=^ 


^^-ir-^ 


T 


Boun  -  teous  source  of  ev    -    'ry  joy !  Let  Thy  praise     our  tongues  em    -    ploy. 

Clouds  that      drop  their  fattening  dews.  Suns  that  tern  -  perate  warmth  dif  -  fuse. 

All         that      lib    -  eral  au  -   tumn  pours  From  her  rich,     o'er -flow   -  ing       stores: 

And,     when    ev     -  'ry  bles  -  sing's  flown.  Love  Thee  for      Thy  -  self       a     -     lone. 


m 


-m ^ 


p 


iS'- 


-<=2- 


^ 


RISE,  CROWNED  WITH  LIGHT. 


sb^ 


Alexander  Pope. 
Alexis  Lvoff.  "  Russian  Hymn.' 


i 


3^ 


:it=i|: 


s: 


~d~ 0  ^  '    ^    m- 


zs 


r 


1.  Rise, 

2.  See 

3.  See 

4.  The 


crown'd  with  light, 

a      long  race  . 

barbarous  na 

seas   shall  waste. 


im  -  pe  -  rial  Sa  -  lem,  rise; 
thy  spa  -  cious  courts  a  -  dom, 
tions  at  thy  gates  at  -  tend, 
the  .skies     to  smoke  de   -   cay, 


Ex     - 

See 
Walk 
Rocks 


£S^ii:g^ 


:P=P: 


alt 
fu 
in 
fall 

<2- 


thy 
ture 
thy 
to 


1 — "H — "-^ — F 


^ 


II— E 


66 


FRANKLIN-iiQUARE   SONG    COLLECTION. 


A  Hymn  is  a  lyrical  discourse  to  the  feelings. 
It  should  either  excite  or  express  feeling.  The  reci- 
tation of  historical  facts,  descriptions  of  scenery, 
narrations  of  events,  meditations,  all  may  tend  to  in- 
spire feeling.  Hymns  are  not  to  be  excluded,  there- 
fore, because  they  are  deficient  in  lyrical  form,  or  in 
feeling,  if  experience  shows  that  they  have  power  to 
excite  pious  emotions.  Not  many  of  Newton's 
hymns  can  be  called  poetical;  yet  there  are  few 
hymns  in  the  Enghsh  language  that  are  more  useful. 
Scarcely  any  two  ministers  would  agree  in  the  selec- 
tion of  hymns.  A  collection  should  be  made  so 
large  and  various  that  every  one  may  find  in  it  that 
which  he  needs.  Neither  should  one  complain  of 
the  multitude  of  hymns  useless  to  him.  They  are 
not  useless  to  others.  A  generously  spread  table  is 
not  at  fault  because,  in  the  profusion,  each  guest 
cannot  use  everything.     Every  one  should  have  all 


the  liberty  and  the  means  of  following  his  own  taste. 
Hymn-l>ooks  have  often  been  so  fastidiously  made, 
as  not  only  to  exclude  many  hymns,  as  extravagant, 
that  were  not  half  so  extravagant  as  are  the  Psalms 
of  David,  and  as  is  all  true  and  deep  feeling  which 
gives  itself  full  expression;  but  also  those  retained 
have  been  abused  by  corrections,  so  called,  and 
tamed  down  from  their  noble  fervor  and  careless 
freedom,  into  flat  and  profitless  propriety.  No  lan- 
guage can  well  replace  that  which  the  original  in- 
spiration of  the  author  suggested. — //.  VV.  Beecher. 
One  evening,  I  found  Felix  Mendelssohn  deep 
in  the  Bible,  "  Listen,"  he  said,  and  then  he  read  ta 
me,  in  a  gentle  and  agitated  voice,  the  passage  from- 
the  First  Book  of  Kings,  beginning  with  the  words^ 
"  And  behold  the  Lord  passed  by."  "  Would  not 
that  be  splendid  for  an  oratorio  ?"  he  exclaimed  ;  and 
it  did  become  part  of  his  work,  the  Elijah. — JJiller. 


KINDRED  HEARTS. 


German. 
Felicia  Hemans. 


1.  Oh,    ask       not, hope     not  thou 

2.  The  tune     that  speaks   of     oth 

3.  Yet  scorn  thou  not,     for     this, 

4.  But  for      those  bonds  all     per 


^a 


too  much     Of     sym  -   pa  -  thy     be  -  low, 
er  times,     A       sor  -   row  -  ful      de  -  light, 
the  true      And  stead  -  fast     love    of     years, 
feet  made,  Wherein      bright  spir  -  its     blend, 


Few 
The 
The 
Like 


S^^ 


=(«=tE 


±iizfc:± 


:t^[— t?— k: 


hearts  whence  once  a  touch  Bids  the   sweet  fountains  flow  ;     Few,  and 
■  dy      of     dis- tant  chimes,  The  sound  of  waves  by  night,      The  wind 
that  from  childhood  grew.  The  faith  -  ful    to     thy  tears.       If    there 
sis  -  ter  flow'rs  of  one  sweet  shade,  With  the  same  breeze  that  bend,  For  that 


are  the 
mel  -  o  • 
kind  -  ly 


by   still  con- 
that  with  so 
be    one  that 
full  bliss  of 


^ 


^ 


^^^^ 


^^S-S- 


■^-^ 


-m-  -m- 


t==^-^^ 


'j^i-  r^^-.fi 


:U=t^=t2: 


m^. 


^^p 


flict -ing  powers  Forbid-den    here  to     meet; 
many  .1   tone  Some  chord  within  can  thrill, — 
o'er  the  dead  Hath  in  thy  grief  borne  part, 
thought  allied  Nev  -  er  to      mor  -  tals  given,— 


Such  ties  would  make  this  life    of  ours    Too 
These  may  have  lan-guage   all  thine  own,  To 
And  watch'd  through  sickness  by  thy  bed,  Call 
Oh       lay    tliy    love  -  ly  dreams  aside,     Or 


FRANKLIN-SQUAKE    SONG    COLLECTION. 


67 


i 


^ 


THE  LIGHT  IN  THE  WINDOW. 


Lonsdale. 
Virginia  Gabriel. 


^&t^^^L*^=^ 


:fE:=I^ 


^ 


M: 


1.  One 

2.  She 

3.  Long 


^3^ 


^    -if  3^       -•-      -•'- 


long,     last  kiss      at     the 
fold    -    ed   his   homespun 
years     had  sped,  but   the 


shiel  -  ing  door.    Ere  he        sad    -    ly  passed  down  the 
suit        of    grey,  And  gath  -  ered     sweet  wild  thyme  to 
light  gleam'd  still  Through  the  sum  -  mer   star  -  light  and 


moun  -   tain     path.        And  she        saw      her       sol   -    dier       boy 
lay  be  -  tween,      And  hung    his      crook     in  the        old 

win     -     try      frost,         Ere  Co    -    lin    climbed  up         the        mist  - 


no   more       Till    he 
fond  way,       She  used 
wreath'd  hill.    And  her 


march' d 

when 

fond 


with  his 
her  Col  -  in 
arms  cir  -  clad 

■m- 


tar     - 
When   gloam 
"Oh        wel    - 


tan    plaids    and  their 
ing      fell       and    the 
come,  dar  -  ling,  though 


m 


M 


=?*=='♦ 


0  '  —  w — m^- 


^-=^ 


m 5=)- 


^^^i 


^=Xr. 


feM 


plumes 

wheel 

late. 


grew  dim, 
was  dumb, 
so      late, 


But  the 
She 
Let 


wail 
lit 
me 


of    the      pi    - 
her  dim  lamp 
kiss  you, sweet! 


broch       e    -     cho-ed    shrill.        As 
at         the        win-dow  pane,   Though 
ere       my        spir  -  it      flies  To 


m 


:S=C= 


m 


^S^e^eI 


? 


ii^izK 


»— »^ 


fan  exprcssione,         dim. 


ES: 


a  tempo. 


soft    -    ly  breath  -  ing 
she      knew    her     lad  -  die 
watch  at  the  win  -  dows   of 


^^^^^^T^^irM 


pray-er    for    him.         She      tum'd      to    her  home     on    the 
ne'er  would  come,       From     herd  -  ing  his  sheep     on    the 
heaven,  and    wait         Thy     [  Omit.'] 


m 


-j'^=e=^ri 


r==P: 


P 


^^^ 


:fc=lK 


7^^ 


yd  nerse. 


1t=i^ 


i»=^ 


5=Ft 


H=^=^= 


heath  -  clad 
hills  a   • 


hill. 
gain. 


feet       at 


?:^=»= 


,^       ^ 


the      thres  -  hold       of 

/TV 


Pa 


ra    -    disc. 


-W 1»» 1*- 


■p 


68 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  influence  of  music  upon  a  pure  mind  cannot  be 
understood  in  this  life,  much  less  expressed.  The 
teacher  who  introduces  music  into  the  school  as  a  reg- 
ular exercise,  will  have  better  discipline  and  will  him- 
self be  better.  It  quickens  thought  in  the  students  and 
relieves  the  monotony  of  routine.  Teach  the  student 
to  read  by  note,  if  possible.  If  you  have  no  books, 
use  the  fingers  for  notes.  Take  a  given  pitch — as  C, 
as  a  standard.  Tell  your  pupils  that  to  sing  they  must 
put  into  action  a  vocal  reed  organ,  with  lungs  as  bellows, 
the  wind-pipe  as  pipe,  vocal  chords  as  reeds,  tongue  as 
the  bridge,  the  roof  of  the  mouth  as  sounding  board. 
Ask  them  to  define  a  tone,  allowing  them  to  express 


their  own  ideas.  Illustrate  by  means  of  a  piece  ol 
rubbei  stretched  and  vibrated ;  thus  teach  them  that 
sound  is  vibration  collected  and  reflected  from  anything 
that  produces  sound.  Illustrate  lines, spaces,  rests, and 
so  on  through  the  fundamental  principles.  Inform 
yourselves  thoroughly  here.  Be  not  like  soldiers  on  a 
long  march  with  rations  for  only  a  few  days.  Be  true 
to  your  calling.  It  is  said  that  Michael  Angelo,  while 
at  his  work,  wore  fastened  to  the  forepiece  of  his  artist's 
cap  a  lighted  candle  that  no  shadow  of  himself  might 
fall  upon  his  work.  This  custom  spoke  a  more  elo- 
quent lesson  than  he  knew,_  How  often  the  shadows 
fall  upon  our  work — falling  from  ourselves! — RusseK 


THE  LONG  WEARY  DAY. 

(DEN    LIEBEN    LANGEN    TAG.) 
Allegretto  Moderato. 


SVABIAN   VOLKSLIED. 

rit. 


^   t*   l^  »^"  y 

1.  The  long,  long  wea  -  ry  day.  In  tears  is  passed  a -way,  The  long,  long  weary  day.  In  tears  is 

2.  For   oh!   my  love    isdead;  ToHeav'n  hissoul  issped.  For  oh!mylove  is  dead;  ToHeav'nhis 

3.  When  I,  his  truth     to  prove.  Would  trifle  with  his  love.  When  I,  his  truth  to  prove.  Would  trifle 


passed  a  -  way.  Yet  still  at  even-ing  I  am  weeping.  As  from  my  window's  height,  I  look  out 
soul  is  sped.  For  him,  with  heart  and  soul  I'm  weeping ;  To  see  him  nev  -  er  more,  It  grieves  my 
with     his  love,  He'd  say,  "Thou  shalt  for  me  be  weeping  Up  -  on  some  fu  -  ture  day,  When  I    am 


^-^t-^^7j^ 


on  the  night;  I  still  am  weep  -  ing,  My  lone  watch  keep-  ing;  As  from  my 
heart  so  sore!  I  still  am  weep  -  ing.  My  lone  watch  keep-  ing,  To  see  him 
far         a  -  way,    Thou  shalt  be     weep  -  ing.    Thy  lone  watch   keep  -  ing;     Up  -    on      some 


window's  height,  I  look  out  on  the  night;  I  still  am  weep  -  ing,  My  lone  watch  keep 
nev  -  ermore,  It  grieves  my  heart  so  sore!  I  still  am  weep  -  ing.  My  lone  watch  keep 
fu  -  ture   day,  When  I  am    far     a  -  way.  Thou  shalt  be  weep  -  ing.  Thy  lone  watch  keep  ■ 

'•;— «— •!— ill— i — m 


^^eS^ 


^    ^    a^    t^- 


4.  Had  naught  but  land  or  sea 

Parted    my  love  from  me, 
I  should  not  now  sad  tears  be  weeping; 
But  hope  he'd  come  once  more. 
And  love  me  as  of  yore. 

And  say, "  Cease  weeping. 
Thy  lone  watch  keeping," 


ing. 
ing. 
ing." 


5.  Now  comes  he  nevermore ! 
It  grieves  me,  ah!  so  sore ! 
And  still  at  evening  am  I  weeping; 
When  the  stars  above  appear, 
I  see  his  eyes  so  clear; 

My  lone  watch  keeping, 
I  still  am  weeping. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


69 


OH,  SACRED  HEAD,  ONCE  WOUNDED. 


Greek  Melody. 
Bernard,  A.  D.  1153. 


± 


I  -^  -*--•-  -^  -f-  -f-  -^ .    I 


£i 


1.  Oh,      sacred,  Headonce  wounded, 

2.  What  Thou,  my  Lord,  hast  suffered 

3.  What  language  shall  I    bor  -  row 

4.  Be      near  me  when  I'm  dy  -  ing, 


f 


^—0    m    0 


■f=^ 


t2=it 


With  grief  and  shame  weigh'd  down ;  Now  scornfully  sur  - 
Was    all   for    sin-ners'  gain ;        Mine,  mine  was  the  trans- 
To  thank  Thee,  dearest  Friend,     For     this  Thy  dy  -  ing 
Oh,  show  Thy  cross  to    me !  And     for   my  sue  -  cor 


r-r 


W^t 


-:^-4-! 


"^^^M — \\—\ 


iP  »  ^^jg 


t=-f-- 


nppTT 


Jii=iB=!»=Sc:: 


t=t=t=t: 


^ 


i^^ 


-^ 


^  J  j- 


r^ 


jr^ 


round  -  ed  With  thorns  Thine  only 
gres  -  sion,  But  Thine  the  dead  -  ly 
sor   -    row.      Thy    pi  -  ty    with -out 


fly 


ing.     Come,  Lord,  and  set    me 


:rown;  Oh,     sa-cred  Head,  what  glo  -  rj'.  What 

pain:  Lo,    here    I      fall,  my    Sav  -  iourl  'Tis 

end  ?  Oh,  make  me  Thine  for  -  ev   -    er ;  And 

free !  These  eyes,  new  faith  re  -  ceiv  -  ing,  From 


?= 


i^^pEfetp 


2={: 


jy-i*: 


I      *l 


^s^u^m^ 


bliss,  till 
I  de- 
should  I 

Je  -   sus 


now  was  Thine ! 
serve  Thy  place ; 
faint-ing      be, 
shall  not    move ; 


Yet  though  despised  and  go  -  ry, 
Look  on  me  with  Thy  fav  -  or, 
Lord,  let  me  nev  -  er,  nev  -  er, 
For     he  who  dies  be  -  liev  -  ing. 


m-m—m-m- 


--iW 


jFi=i^ 


JLi 


^ 


I     joy    to   call  Thee  mine. 
Vouchsafe  to    me  Thy  giace. 
Out  -  live  my  love  for   Thee ! 
Dies  safely,  through  Thy  love. 


P 


T2Z 


TO  THY  PASTURES  FAIR  AND  LARGE. 


^ 


^ 


^^ 


J.  Merrick. 


Wi 


^- 


r^— ^- 


^ 


T=^— ^ 


rr~f- 


1.  To 

2.  When 

3.  Safe 

4.  Con  - 


r  I    rr 

Thy  pas  -  tures  fair 

I      faint    with  sum 

the   drear  -  y      vale 

stant  to         my     lat 


rr 

and  large, 
mer's  heat, 
I      tread, 
■    est    end, 


T 

Thy 


--^ 


i 


r 

Heav'n  -  ly    Shep  -  herd,  lead 
Thou     shall  guide    my    wea  -   ry 
By  the    shades  of    death  o'er 

Thou     my    foot  -  steps  shalt     at 


charge, 
feet 

spread, 
tend; 


^ 


#=ST^=£^^b&=ri: 


r 


s^ 


izt 


^ 


2i=^ 


f^=^ 


t^- 


i^- 


r^ 


my   couch,  with  tend  -  'rest  care, 
the  streams  that  still        and  slow. 
Thy  rod       and  staff        sup- plied, 
shalt  bid       Thy  hal  -  low'd  dome 


Mid  the  spring  -  ing  grass     pre- 

Through  the  ver  -  dant  mead-  ows 
This  my  guard,  and  that  my 
Yield       me   an  e  -  ter   -   nal 


i 


1^ 


i^ 


,1 


:P2: 


T 


eE3E 


pare, 
flow, 
guide, 
home. 


7° 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Gradually,  in  Italy,  singing  became  an  art. 
What  we  mean  by  singing  when  we  speak  of  it  as  a 
source  of  pleasure  of  the  higher  kind,  is  really  an 
Italian  art,  which  has  been  diffused  over  the  civilized 
world;  and  the  Italian  school  of  singing  is  still  the 
great  school. — others,  in  so  far  as  they  differ  from  that 
school,  being  inferior.  The  first  distinctive  charac- 
teristic of  the  Italian  school  of  singing  is  the  delivery 
of  the  voice,  the  mode  of  uttering  a  single  note. 
Italians  generally  ( for  singing  in  this  way  has  be- 


come a  second  nature  to  the  whole  people )  use  their 
voices  in  quite  a  different  way  from  the  generality  of 
other  people.  They  naturally  utter  their  notes  with 
a  purity  and  a  freedom  rarely  heard  from  untaught 
persons  of  other  races.  This  delivery  of  the  voice  is 
the  foundation  of  their  excellence  as  singers.  In- 
deed, it  may  almost  be  said  to  constitute  that  excel- 
lence; for  not  only  is  there  no  great  singing  without 
it,  but  the  chief  end  of  Italian  vocal  discipline  is  to 
attain  execution  united  with  this  free  vocal  utterance. 


THE  SLUMBER-SONG. 


F.  KuCKEN. 


^EEp 


Very  Slow. 

f  All       is      Still  in  sweet 

\  Al  -    les      still  in  sits 

j  Close  each   lit   -  tie,  lov     - 

(  Schlies-se     dei  -  ne  Aen     ■ 


est   rest,  Be       thy    sleep     se  -  rene  -  ly       blest! 

ser  Rtih  !  DWuin  mein  Kind  so      schlaf  auch  dul 
ing  eye,  Let     them  like     two   rose  -  lets     lie; 

ge-lcin.  Lass     sie      wie     zwei  Knos  -  pen     sein! 


Winds   are    moan 
Draus-sen     seiu     - 
And     when  pur    - 
Mor  -  gen    wenn 


■   ing    o'er,  the     wild, 
sell     nur    der     Wind, 
pling  morn  shall  glow, 
die   Sonn''  er  -  glUht, 


Lul  -  la    -   by,      sleep  on,  my    child; 

Su,      su,      su!     schlaf  ein,  viein  Kind  : 

Still     as      rose  -  lets     fresh     -  ly     blow, 

Sind  sie       wie      die    Blum''  er  -  bli'iht. 


Lul    -  la    -  by,  sleep   on, 

Su,  su,  su !      schlaf  cin, 

Still  as  rose  -  lets     fresh 

Sind  sie  wie      die      Blun 


my      child.    La,  lul  -     la  -  by,  sleep     on,  my 

inein  Kind;  Su,  su,  su,  su!  schlaf  ein,  mein 

ly       blow;  La,  lul  -     la  -  by,  sleep     on,  my 

ei-   -    bli'iht ^  Su,  su,  su,  su !  schlaf  ein,  mein 


There  are  singers  who  have  voices  of  remarkable 
power,  range  and  flexibility,  who  can  never  be  great 
because,  either  by  nature  or  from  bad  and  ineradica- 
ble habit,  they  cannot  attain  this  pure  and  free  deliv- 
ery of  the  voice.  Their  tone  is  guttural,  or  it  is  nasal, 
or  it  is  rough,  or  it  is  unsteady,  or  something  else ; 
it  may  be  merely  constrained ;  in  any  case,  the  fault 
is  more  or  less  destructive.  There  may  be  great 
singing  without  great  power,  without  remarkable 
flexibility,  without  the  ability  to  execute  a  roulade  or 


trill ;  but  there  can  be  no  singing  really  great  without 
this  free,  pin-e  delivery  of  the  voice.  A  singer  who 
can  go  through  the  whole  range  of  his  voice,  frcm 
low  to  high,  swelling  out  the  tone  and  diminishing 
it  with  the  vowel  sound  of  broad  a  (ah,)  preserving 
that  sound  pure,  and  uniting  with  it  perfect  intona- 
tion through  crescendo  and  diminuendo,  has  con- 
quered much  more  tlian  half  the  difficulties  of  the 
art  of  vocalization.  All  the  rest,  almost  without 
exception,  are  mere  "  limbs  and  outward  flourishes." 


FRANKLIN-SQUARE    SONG    COLLECTION. 


71 


SHALL  WE  MEET  BEYOND  THE  RIVER? 


^F^=? 


t-^  -t^'  t-^    g,.  J.'  J  .  J  *^ . 


H.  L.  Hastings. 
Elihu  S.  Rice,  186 


i^ 


^ 


1.  Shall   we  meet 

2.  Shall  we  meet 

3.  Shall  we  meet 

4.  Shall  we  meet 


be-yond    the  riv  -  er,    Where  the  sur  -  ges  cease    to  roll? 

in  that    blest  har-bor,  When  our  storm  -  y  voyage  is  o'er 

in   yon  -  der  ci  -  ty,    Where  the  tow'rs     of    crys  -  tal  shine? 

with  Christ,  our  Sav  -  iour,  When  He  comes     to  claim  His  own  ? 


^ 


r  e   r 


f^V-^ 


^ 


I*    I*  •  ^ 


W-^ 


V    V 


^ 


^m 


^^m^ 


i 


:s=i= 


shall  press  the      soul  ? 

ce  -  les  -  tial     shore? 
man -ship   di    -   vine? 

up  -  on    His    throne? 


Where,   in        all 

Shall     we  meet 

Where   the  walls 

Shall     we  know 


the  bright  for 
and  cast  the 
are  all  of 
His   bless  -  ed 


ev  -  er,  Sor  -  row  ne'er 

an  -  chor  By  the  fair 

jas  -  per.  Built  by  work 

fa  -  vor,  And  sit  down 


r   ^'  r 


wrf^^ 


^ 


^ 


af=it 


S^:^=it 


:iti=i^ 


^ii=^ 


-& 


shall    we       meet, 


f^i^ 


J- 


Shall    we      meet     be  -  yond 


the 


-^ ^-^ — ^ 


m — *- 


fc^3^ 


^ 


^=^ 


:^r-^ 


be-yond    the       riv-  er,   Where     the      sur   -   ges  cease    to      roll? 


m 


s 


^ 


-44- 


U     ^ 


^ 


22 


WHILE  THE  MORNING  BELLS  ARE  RINGING 


'Sicilian  Hymn.' 


5^ 


1.  While     the 

2.  When     the 

3.  Thanks   to 


^^^ 


morn  -  ing    bells      are    ring  -  ing.  We        to  Thee 
night     was   fold  -    ed     o'er     us,  Heav  -  y  dark  - 
Thee,    O     heaven  -  ly      Fath  -  er.  For   Thine  all    - 


i 


I 


our    songs  would  raise, 

ness    shut        us      in; 

pro  -  tect  -    ing  arm ; 

-^ — H* — g*  ,r^ 


Thankine   Thee     for     Thy      pro  -  tec  -  tiou,  Lift  -  ing       to      Thee 


Z=^ 


t=4 


m 


Thanking 
But  we 
Thro'    the 


Thee 
slept 
dav, 


Thy-  pro  -  tec 
peace  -  ful  qui 
pray     thee,  keep 


tiou.  Lift  -  ing 
et,  Thou  our 
us      Free  from 


Thee  notes  of  praise, 
night-  ly  guard  hast  been, 
e    -     vil,      safe  from     harm. 


P 


-!^        ]m    -I ■ 1 1 1 <^^ ^» — 


May  the  grace  of  Christ,  our  Saviour, 
And  the  Father's  boundless  love. 

With  the  Holy  Spirit's  favor, 
Rest  upon  us  from  above ! 


Thus  may  we  abide  in  union 
With  each  other  and  the  Lord, 

And  possess,  in  sweet  communion, 
Joys  that  earth  can  ne'er  afford. 


ya  FRANKLIN-SQUARE  SONG   COLLECTION. 

BEAUTIFUL  SPRING-TIME. 


%:^kp:j4-j;j;^pi^^ 


Verdi. 


^ 


3fe<?z«(: 


:& 


f 


Expression.  ^1  ^1 

1.  Beau-  ti  -   lul       Spring-time! bright, blooming       ro   -    ses,  When  hope   with      pleas -ure 

2.  Beau  -  ti  -   ful       Spring-time !   sea  -  son     de    -     part  -^  ed,  When  birds  were      sing  -  ing 


^^^- 


^ 


^m 


i b-Li 


^PS 


^^='=^^r"-J'  i-  'T 


^ 


:3--^: 


"^5r-:#i- 


sweet  -  ly      re    -    po    -    ses.  Dream -ing     of 
gay      and   light  -  heart  -   ed,     Tell  -  ing     of 


glad  -  ness    when   day  -  light      clo    -     ses, 
joys  when  our  ear  -  ly      life        start   -    ed. 


v-^ 


feaajjiissi 


15 I 


ii^ 


:^=^: 


3i3^^ 


Dreams  of  the  heart  when  no    sor  -  row  was  near. 
Oh  !    how  those  mo-ments  have  fad-ed     a  -  way ! 


Oh  !  hap  -  py  days !    we     can    nev  -  er      for 
Oh !  blissful  hours !    we    shall  ev  -  er       re  - 


•mr  -F i^— F hi — hi — hi" 


j^  -f-  -r.-r- 


m. 


-r  -r--!*-- 


■^m=^ 


i^-k-v=jg 


EE 


5Llfc 


^^zil^ 


»i   I  ^ — i^ 


v-v 


grHrfi^iSiiii 


>— ^ 


V 


h,    h     K— ^ 


— j — J     ^^^*i-B»{  be~ 


:il=^ 


get       thee.  Life  was  too  sweet,     ev-'ry     moment  was  dear!  We  wandered  at    even-ing  o'er 
mem  -  ber:  Sweet  was  our  young    life — too  sweet  to    de  -  cay!  We    hear  the  bells  chim-ing,  when 


val  -  ley    and  foun-tain,  Thro' for-est  and  dell,    by  the  swift-ghding  stream 
peaceful  -  ly   dreaming   Of    past  hap-py  hours —  of  our  loved  happy  band ; 


We  roamed  with  light 
Tho'  Time  spreads  his 


i 


r  1^  r-r- 


:«=pe 


1^ 


p-i(*  * 


4  jfl*  a 


^ 


:r=i^ 


ai  1*   I* 


:l-#^ 


^V  ^  '^ 


il^    K»- 


U  u*  u- 


v-tsn?- 


J^^ 


i 


step  to     the      mur-mur  -  ing    foun-tain,'Twaslong,  long  a  -   go,        but 
pin -ions  with      ra  -  di  -   ant   seem-ing.  He   leads    us       at     last         to 


it  seems     a     sweet 
the  beau  -  ti   -   ful 


FRANKLIN-SQUARE   SONG    COLLECTION. 


13 


V 


^ts= 


^1^== 


^-sr- 


J=^=^;i: 


«E^ 


-=?—=?- 


dream, 
land! 


Sweet  dream,  sweet  dream,         beau  -  ti   -   ful  dream.  Sweet  dream,     sweet  dream, 
Bright  land,    bright  land,  beau  -  ti    -   ful    land.    Bright  land,       bright  land, 


^===^= 


ig-^^Tlfe 


S^t 


£ 


-n— n- 


i^^^ 


i 


P/3 


>    h    h 


^ 


^ 


f=r=g 


:3=5t 


f^ 


beau 
beau 


ful   dream,        Beau   -   ti  -    ful  dream,     beau  -  ti  -    ful     dream, 
ful     land,         Beau    -    ti  -    ful     land,      beau  -  ti  -    ful     land. 

-r  -r  -r 


-#— kj 


«: 


m 


i 


^- 


IKZZJK 


-^— t 


OH,   COULD    OUR 

THOUGHTS 

=-    ^  h  h 

German. 
Akne  Steele,  1764. 

A^-A--[- 

d:    J"J.    d 

;^    . ^ — ta— r — »— 

r-^^-/  / 

— it — =5 K- 

1.  Oh, 

2.  Lord 

-«- 

could  our  thoughts  and 
jsend     a   beam      of 

wish  -  es    fly         A  - 
light     di  -  vine.     To 

-•--—J — 1^ — m>- 

bove   these  gloom- y 
guide    our      up  -  ware 

-^'  -^   -F-   -^ 

shades.          To 
aim !             With 

1$"                 T 

/•^•  h  1  -1  ' 

1            ,  J     n         1 

1                           1 

r                  r 

I^J*.  "  k  fS 

m  •     m      m      m 

Nm?  h'^  -1  1 

^     >  1      ^ 

^         W*     1            1^ 

1        S     ~     1^     - 

1      t?  7    4 

— k ^ — k 

s 


those  bright  worlds  beyond  the  sky.  Which  sor  -  row  ne'er  in  -  vades !  There  joys,    un-  seen     by 
one      re  -  viv  -  ing  touch  of  Thine,    Our  Ian  -  guid  hearts  inflame.    Then  shall,  on  faith's  sub- 


^ 


-^'  m — 1^  •  m- 


*ij=?=i^ 


-m-  -m- 


-l»-H 1- 1 1 


I 


p  k  k' 


iMzri: 


fr-j*- 


V-k-t^ 


^^ 


mor  -  tal  eyes.   Or   reason's     fee  -  ble  ray,  In      ev  -  er  -  blooming   prospect  rise,    Un 

lim  -  est  wing.  Our  ardent      wishes    rise         To  those  bright  scenes  where  pleasures  spring,  Im- 

:^-  :^  Iff:  ^ 


74 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Thro'  the  Dark  Ages  music  was  kept  alive  mainly 
by  tradition.  In  the  churches  its  religious  element 
preserved  it,  while  the  minne-singers  and  trouba- 
dours, singing  of  rare  knightly  deeds,  made  it  an  es- 
sential accomplishment  for  those  who  sought  welcome 
in  courts  and  palaces.  Yet  to  the  meister-singers 
rather  than  the  minne-singers  do  we  owe  that  which 
was  best  worth  preserving,  the  popular  element  in  mu- 
sic, since  a  language,  an  art,  a  religion,  to  live,  must 
have  its  abiding-place,  its  shrine,  among  the  homes 
and  in  the  hearts  of  the  people.  The  guilds  of  the 
meister-singers  were  established  in  the  chief  cities  of 


Germany,  Nuremberg  the  chief,  and  chiefest  in  Nur. 
emberg  was  Hans  Sachs,  the  shoe-maker,  whose  name 
is  famous  the  world  over,  even  without  Herr  Wagner's 
opera  of  Die  Meistersinger.  Those  who  have  seen 
Kaulbach's  cartoon  of  the  "Era  of  the  Reformation" 
will  recall  with  pleasure  the  strong,  earnest  face  of 
the  musical  cobbler,  with  whom  Luther  himself  must 
share  some  of  his  glory.  The  resistless  weight  and 
influence  of  these  guilds  came  from  their  genuine 
democracy.  Numbering  neither  knights  nor  nobles 
in  their  ranks,  but  recruited  from  the  burghers,  trades- 
men, craftsmen,  and  plain  citizens,  they  brought  com- 


WHILE  THE  DAYS  ARE  GOING  BY. 


A.  Nettleton. 


hearts  to      cher  -  ish,  While   the    days     are       go  -  ing       by 

i  -   die    scorn  -  ing.  While   the    days     are       go  -  ing        by 

links  that   bind      us    While   the    days     are       go  -  ing       by 


iS: 


^"^"i 


^zrzA- 


1.  There  are     lone  -  ly 

2.  There's  no    time     for 
2.  All      the      lov  -  ing 


SE3iijB 


|E3L-=z--t»: 


e 


W¥ 


5"=^: 


iplie 


»-b-4— t?-— 1^— ff 


-^—^ 


s^p^^g=^iii^ 


There  are  wea  -  ry 
Let  my  face  be 
One     by       one       we 


souls  that  per  -  ish.  While  the  days  are 
like  the  morn  -  ing,  While  the  days  are 
leave    be  -  hind       us,    While  the     days       are 


X 


go  -  mg  Dy ; 
go  -  ing  by; 
go  -  ing        by ; 


If  a  smile  we 
Oh!  the  world  is 
But     the     seeds      of 


can 
full 
good 


re  -  new,  As  our  jour  -  ney 
of  sighs,  Full  of  sad  and 
we        sow,    ]5oth     in      shade  and 


we     pur  -  sue, 

weep -ing    eyes; 

sun   will    grow, 


-£ 


iii^^ 


% 


J-^^m — _-!zi_ 


fel^^i 


i^^^^ 


i^s 


:W=^ 


do,  While  the  days 
rise,  While  the  days 
glow,While  the    days 


are 
are 
are 


IE 


go  -  ing  by ! 
go  -  ing  by ! 
go  -  ing        by ! 


m 


w 


mon-sense  in  close  contact  with  learning;  they  sang 
at  the  workshop  and  the  forge,  at  the  cobbler's  bench 
and  at  the  loom.  Not  alone  in  church,  but  at  home 
and  abroad,  music  was  a  bond  of  union,  interwoven 
with  their  religious  aspirations;  it  was  also  their  rec- 
reation, with  a  good  share  of  hard,  earnest  work  and 
careful  training,  in  obedience  to  strict  rules  and  regula- 
tions, under  skillful  leaders,  to  make  their  music  possi- 
ble. It  was  these  meistersingers  which  made  Ger- 
many a  musical  people,  ready  for  Luther's  hymns,  to 
■which,  indeed,  music  gave  wings,  doing  more  than 


even  the  great  reformer's  preaching  for  the  spread  of 
Gospel  truth  :  so  simple  and  effective  are  some  of  the 
great  agents  of  God.  Music  had  at  last  become  the 
people's  possession;  not  alone  a  source  of  enjoyment 
and  gratification  to  the  refined  and  cultivated,  but  a 
mighty  means  for  a  mighty  end,  for  tlie  civilization 
and  improvement  of  all  classes — a  leaven  wherewith 
to  leaven  and  lift  the  whole  world.  From  the  hour  that 
music  ceased  to  be  the  exclusive  possession  of  musi- 
cians, like  religion  when  it  passed  from  the  hands  of 
monks  and  priests,  its  power  became  infinite, —  Gray. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


75 


I'LL   DO    MY   DUTY 

Earnestly. 


Songs  of  Gladness. 


N^=j^#^^^^iE^^Efe^^^|E^^jg 


1.  Though  the  clouds    are     low'r  -  ing 

2.  If          with  stern      re  -  buke      he 

3.  While     the  hail  -  stones  cold      are 

4.  Saint  -    ed  souls      en  -  throned    in 


round     me.  Though  the     storm 

chide      me,   And       my      spir 

fall    -   ing,    Pelt  -   ing       on 

glo    -    ry    Passed      a   -   long 


wind  blow, 
it  chill, 
my  brow, 
this   way; 


m^ 


■i^m 


& 


^=m^ 


^ 


Un   -   be   -   liev  -   ing      fears     con  -  found 

In        the     Rock  -  clefts       I        will      hide 

"Fear    thou      not!"     I        hear     him      call  - 

Bonds  and       fire      and    scourg  -  ings       go   - 


me.  On  -  ward  still 

me.  And       a  -  wait 

ing,  "I         am  with 

ry,  Filled   up  all 


I'll  go. 

his  will, 

thee  now." 

their  day. 


n  *»       w       N 

J'"'  ^    ^ 

y  ^      r    J 

m 

'^      J      r 

1     '            1                ■  ■  1 

?*T^-5— S- 

3  3  S— S- 

_- 

^-A — 4-J- 

"lil    m      — d   ~^r^ 

-S-^h 

All     mv 

care,  and      ev'  -  ry 

A       1*       1*       1* 

bur  -  den.     Cast  -  ing 

on      the  might  -  y       Lord. 

1*       1*       «      "^       '^   ' 

/^.  0f    d      *^m 

•       1 

P 

: 

^■-  -^^ -S- 

1« 

-  a ,^ la Ib — 

-^- — 'm — '\m — !•—  - 

-1 ^ — 

W=i ^ 1^ 

A U — V— 

-w- f-^ W W — 

H 1 H 1 

'  i   r 

1       ^    V 

1        1        11 

GOD  OF  OUR  FATHERS. 


^ 


^ 


i 


L.  Mason,  1832.  "Downs.' 


^3^ 


-s"- 


2=3= 


:^ 


^'- 


'jcJr. 


1.  God        of     our      fa   -   thers,      by  whose  hand       Thy  -  peo  -  pie     still        are       blest; 

2.  Thro'     each  per  -  plex  -   ing      path    of      life        Our       wand'ring  foot   -  steps    guide ; 

3.  Oh,     spread  thy    shelt  -  'ring      wings  a  -  round,     Till        all     our    wand  -  'rings    cease ; 


^^m 


^-i-« 


:ff=t 


f=e=n=fcn?=fcS 


-^ 


-e- 


^ 


^ 


:^: 


:^= 


iit=^S 


A 


;i=^^g 


S>^- 


Be  with  us  through  our  pil  -  grim  -  age.  Con  -  duct  us  to  our  rest. 
Give  us  each  day  our  dai  -  ly  bread.  And  rai  -  ment  fit  pro  -  vide. 
And       at       our    Fa  -     ther's    loved  a   -   bode,       Our     souls     ar  -  rive        in       peace. 


Es: 


-^ — m- 


i 


-^ 


*=£=e 


i 


:^ 


76 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Memory  Bells. — On  the  fifth  day  of  my  journey 
across  the  Syrian  desert  the  air  above  lay  dead,  and  all 
the  whole  earth  that  I  could  reach  with  my  utmost 
sight  and  keenest  listening  was  still  and  lifeless  as  some 
dispeopled  and  forgotten  world  that  rolls  round  and 
round  in  the  heavens  through  wasted  floods  of  light. 
The  sun,  growing  fiercer,  shone  down  more  mightily 
now  than  ever  on  me  he  shone  before,  and  as  I  drooped 
my  head  under  his  fire  and,  closing  my  eyes  against  the 
glare  that  surrounded  me,  slowly  fell  asleep,  for  how 


many  minutes  or  moments,  I  cannot  tell,  but  after 
awhile  I  was  gently  awakened  by  a  peal  of  church 
bells — my  native  bells — the  innocent  bells  of  Marlen, 
that  never  before  sent  forth  their  music  beyond  the 
Blaygon  hills !  My  first  idea  naturally  was,  that  I  still 
remained  fast  under  the  power  of  a  dream.  I  roused 
myself,  and  drew  aside  the  silk  that  covered  my  eyes, 
and  plunged  my  bare  face  into  the  light.  Then  at 
least  I  was  well  enough  wakened,  but  still  those  old 
Marlen  bells  rang  on,  not  ringing  for  joy,  but  properly. 


^ 


LOVE  AND   MIRTH. 


Allegretto. 


J.  Strauss. 
Baden  Polka. 


^M^ 


]t=^ 


^ 


I 


'^  ^  ^^^ 

doth  the     crick  -  et  sing  ? 

morn  when  first    she  springs 

leaves  the      ap  -  pies  wres  -  tie, 

mirth?  then  why   will  man 


3t=it 


1 .  What  song 

2.  Mark    the 

3.  With    the 
2.  Is  it 


nirth? 

4I 


What  news  doth  the 
Up  -  ward  on  her 
In  the  grass  the 
Mar     the    sweet  song 


*--*—% 


swal  -  low  bring? 

gold  -  en  wings; 

dai    -  sies  nes-tle, 
all        he        can  ? 


fcfcg: 


:U=tz: 


:t2=tz=t2=t2: 


-4-H^- 


^ 


:*1 gM-^M-^: 


:^=^ 


Jte—^ll^Jte 


:Js:^3i|: 


^^EE^ 


What  doth 
Hark!  the 
And  the 
Bid        him 


laughing      child  -  hood  tell  ? 

soar  -  ing,    soar    -  ing  lark, 

sun  smiles    on       the  wall, 

rath  -  er       aye       re    -  ioice. 


What  calls    out 

And  the     echo  - 

Tell  us,  What's 

With  a      kind 


the  marriage     bell  ? 

ing  for  -  est — hark  ! 

the  cause    of     all  ? 

and  mer    -   ry  voice. 


What     say  all  ?  "  Love  and 

What     say  they  ?  "  Love  and 

'  Mirth    and  love,  Love  and 

Bid        him  sing,  "Love  and 


mirth, 
mirth, 
mirth, 
mirth. 


In  the  air  and 

In  the  air  and 

In  the  air  and 

In  the  air  and 


in  the  earth ; 

in  the  earth ; 

in  the  earth ; 

in  the  earth ; 


prosily,  steadily,  merrily  ringing  for  "  church."  After 
a  while  the  sound  died  away  slowly ;  it  happened  that 
neither  I  nor  any  of  my  party  had  a  watch  by  which 
to  measure  the  exact  time  of  its  lasting,  but  it  seemed 
to  me  that  about  ten  minutes  had  passed  before  the 
bells  ceased.  I  attributed  the  effect  to  the  great  heat 
of  the  sun,  the  perfect  dryness  of  the  clear  air  through 
which  I  moved,  and  the  deep  stillness  of  all  around 
me;  it  seemed  to  me  that  these  causes,  by  occasioning 


a  great  tension,  and  consequent  susceptibility  of  the 
hearing  organs,  had  rendered  them  liable  to  tingle 
under  the  passing  touch  of  some  mere  memory,  that 
must  have  swept  across  my  brain  in  a  moment  of  sleep. 
Since  my  return  to  England,  it  has  been  told  me 
that  like  sounds  have  been  heard  at  sea,  and  that  a 
sailor  becalmed  under  a  vertical  sun,  in  the  midst  of 
the  wide  ocean,  has  listened  in  trembling  wonder  to  the 
chime  of  his  own  village  bells — Kinglake's  Eothen. 


FRAXKLIN-SQUARE   SONG    COLLECTION. 


77 


BROTHER  SO   FINE. 

(BRTJDERLEIN   FEIN.) 


:^at 


J»f-V 


^ 


^^^^     I     ^ 

T   0~ 


.  Drechslbr. 


7*  m 1 —  - 


^=*U5 


Andantino. 

Broth  -  er   so  fine,  broth  -  er  so  gay,  Come,  do   not 

Broth  -  er   so  fine,  broth  -  er  so  gay.  Come,  do   not 

Broth  -  er   so  fine,  broth  -  er  so  gay.  Friends,  oh,  let 


1^  k  ^ 
be  angry,  I 
be  an-gry,  I 
us    part       to 


pray.  Broth  -  er  so  fine 
pray.  Broth -er  so  fine 
day,  Broth -er  so  fine 


1^    l^    ^ 

brother    so  gay.       Don't   be    an  -  gry,   pray.  Shines  the    sun  nev-er     so   clear, 

brother    so  gay.       Don't   be    an  -  gry,    pray.  Ah,         for  me,    you  think    no  thought, 

brother    so  gay,    "Fare -well."  let     us      say.  Some    times  think  of     me         as    dear, 

J*    !*»    ^ 


Sometime  must  he  dis  -  ap-pear,  Brother  so  fine,  broth-er  so  gay,  Don't  be  an  -  gry,  pray. 
When  I'm  gone,  you  deem  it  nought,  Bi  other  so  fine,  brother  so  gay.  Don't  be  an-gry,  pray. 
Mock  not  at    my    for  -  tune  drear.  Brother  so  fine,  broth-er    so  gay.  Hands  we  clasp  to  -  day. 


4k.  jm. 


-I — I — ■ C- 


^■s*--^- 


THE  FAIRY  RING. 

Allegretto. 


Childhood  Songs. 


*^^^^ 


1.  Let        us      laugh,    and      let       us      sing,      Dane  -  ing        in         a      mer  -   ry       ring; 

2.  Like     the       sea   -   sons     of       the     year.      Round  we       cir   -    cle    glad  -   ly       here: 

3.  Har   -   ry       will        be     Win  -  ter     wild.      Lit    -    tie      Char-  ley,    Au  -  tumn    mild; 

^     h     ^     I 

3it=li|=OJ= 


,ff-^ 1 1 ( 1_  _H ( 1 1 1 ^ 


^^= 


■^==g=i=s=-^—^- 


We'll      be        fai    -   ries     on       the     green.      Sport  -  ing    round     the      fai   -  ry      queen. 

I'll  be       Sum  -  mer,  you'll   be    Spring,     Dane  -  ing       in  a       fai    -   ry       ring. 

Sum  -  mer,     Au  -  tumn.  Win  -  ter,  Spring,      Dane  -  ing       in  a       fai   -  ry       ring. 


£^^ 


It: 


1*       k       ^ 


^ 


Spring  and  Summer  glide  away. 
Autumn  comes  with  tresses  gay ; 
Winter,  hand  in  hand  with  Spring, 
Dancing  in  a  fairy  ring. 


Faster  I  faster !  round  we  go. 
While  our  cheeks  like  roses  glow; 
Free  as  birds  upon  the  wing. 
Dancing  in  a  fairy  ring. 


78 


FRANKLIN-SQUARE   SONG    COLLECTION, 


The  Human  Ear. — How  do  the  vibrations  of 
the  air  speak  to  your  brain?  First,  I  want  you  to 
notice  how  beautifully  the  outside  shell  of  the  ear, 
or  concha,  as  it  is  called,  is  curved  so  that  any  move- 
ment of  the  air  coming  to  it  from  the  front  is  caught 
in  it  and  at  once  reflected  into  the  opening  of  the  ear. 
When  the  air-waves  from  any  quarter  have  passed  in 
at  the  opening  of  your  ear,  they  move  all  the  air  in 
the  passage  which  is  called  the  auditory,  or  hearing, 
canal.  This  canal  is  lined  with  little  hairs  to  keep 
out  insects  and  dust,  and  the  wax  which  collects  in 
it  serves  the  same  purpose.  But  if  too  much  wax 
collects,  it  prevents  the  air  from  playing  well  upon 
the  drum,  and  therefore  makes  you  deaf.  Across 
the  end  of  this  canal  a  membrane,  partly  called  the 
tympanum,  is  stretched,  like  th;  parchment  over  the 
head  of  a  drum,  and  it  is  this  membrane  which  moves 
to  and  fro  as  the  air-waves  strike  on  it.     A  violent 


blow  on  the  ear  will  sometimes  break  this  delicate 
membrane,  or  injure  it,  and  therefore  it  is  very 
wrong  to  hit  a  person  violently  on  the  ear.  On  the 
other  side  of  this  membrane,  iniide  \}nt.  ear,  there  is 
air,  which  fills  the  whole  of  the  inner  chamber  and 
the  tube  which  runs  down  into  the  throat.  Now,  as 
the  drum  of  the  ear  is  driven  to  and  fro  by  the  sound- 
waves, it  naturally  moves  the  air  in  the  cavity  behind 
it,  and  also  sets  in  motion  here  three  most  curious  lit- 
tle bones.  The  first  of  these  bones  is  fastened  to 
the  middle  of  the  drumhead  so  that  it  moves  to  and 
fro  every  time  this  membrane  quivers.  The  head  of 
this  bone  fits  into  a  hole  in  the  next  bone,  the  anvil, 
and  is  fastened  to  it  by  muscles,  so  as  to  drag  it  along 
with  it;  but,  the  muscles  being  elastic,  it  can  draw 
back  a  little  from  the  anvil,  and  thus  give  it  a  blow 
each  time  it  comes  back.  This  anvil  is,  in  its  turn, 
very  firmly  fixed  to  the  little  bone  shaped  like  a 


THE  BRIGHT,  ROSY  MORNING. 


Allegretto. 


i 


g^ 


J^ 


:*i---^: 


-:ir-^ 


a— tf-*^=*=*^ 


The  bright  ro  -  sy  morn  -  ing 
The  deer  roused  be  -  fore  us. 
The  day's  sport     when      o   -   ver. 


Peeps  o  -  ver  the  hills,  With  blush  -  es  a  - 
A  -  way  seems  to  fly.  And  pants  to  the 
The      fire  -  side    all   bright  But    gives    the       tired 


stirrup  at  the  end  of  the  chain.  This  stirrup  rests 
upon  a  curious  body,  which  looks  like  a  snail-shell 
with  tubes  coming  out  of  it.  This  body,  which  is 
called  the  labyrinth,  is  made  of  bone,  but  it  has 
two  little  windows  irt  it,  one  covered  only  by  a  mem- 
brane, while  the  other  has  the  head  of  the  stirrup 
resting  upon  it.  Now  you  will  readily  understand 
that  when  the  air  in  the  auditory  canal  shakes  the 
drumhead  to  and  fro,  this  membrane  must  drag  the 
hammer,  the  anvil,  and  the  stirrup.  Each  time  the 
drum  goes  in,  the  hammer  will  hit  the  anvil,  and 
drive  the  stirrup  against  the  little  window;  every 
time  it  goes  out  it  will  draw  the  hammer,  the  anvil, 
and  the  stirrup  out  again,  ready  for  another  blow. 
Thus  the  stirrup  is  always  playing  upon  this  little 
window.  Meanwhile,  inside  the  bony  labyrinth 
there  is  a  fluid  like  water,  and  along  the  little  pas- 
sages are  very  fine  hairs,  which  wave  to  and  fro  like 


reeds;  and  whenever  the  stirrup  hits  at  the  little 
window,  the  fluid  moves  these  hairs  to  and  fro,  and 
they  irritate  the  ends  of  a  nerve,  and  this  nerve  car- 
ries the  message  to  the  brain.  There  are  also  some 
curious  little  stones  called  otoliths,  lying  in  some 
parts  of  this  fluid,  and  they,  by  their  rolling  to  and 
fro,  probably  keep  up  the  motion  and  prolong  the 
sound.  You  must  not  imagine  we  have  explained 
here  the  many  intricacies  which  occur  in  the  ear. 
We  can  only  hope  to  give  you  a  faint  idea  of  it, 
so  that  you  may  picture  to  yourselves  the  air-waves 
moving  backwards  and  forward  in  the  canal  of  your 
ear,  then  the  tympanum  vibrating  to  and  fro.  the 
hammer  hitting  the  anvil,  the  stirrup  knocking  at 
the  little  window,  the  fluid  waving  the  fine  hairs  and 
rolling  the  tiny  stones,  the  end  of  the  nerve  quiv- 
ering, and  then  in  some  marvelous  way  ( ho7u  we 
know  not )  the  brain  hearing  the  message. — Btickley. 


FRANKLIN-  SQUARE   SONG    COLLECTION. 


79 


I  DREAMT  I  DWELT  IN  MARBLE  HALLS. 

-• *— >-^ — 


M.  W.  Balfe. 
From  "  Bohemian  Girl.' 


1.  I  dreamt  that   I        dwelt 

2.  I         dreamt    that     suit 


in      mar     -     ble  halls,    With  vas  -  sals  and  serfs    at 
ors     sought      my  hand;    That  knights  upon     bend 


my 
ed 


tot-y 


sfi 


side,  ,   .    .  And    of     all   who    as  -  sem-bled  with  -  in         those  walls  That    I     was    the 
knee,    .    .    And  with  vows  no  maid  -  en  heart     could    withstand,  They   pledg'd   their 


iF^ 


so    dreamt,  which  pleas'd    me 
so    dreamt,  which  charm'd  me 


^ 


aTs^ 


^ 


most.   That  you  lov'd 
most,   That  you  lov'd 


me    still 
me    still 


EE^ 


the     same,  that    you     lov'd   me,  you       lov'd 
the     same,  that    vou     lov'd    me,  you        lov'd 

-        ^     ^     ^       J__ 


me 
me 


-m—^ 


^  ^    %- 


f 


8o 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  following  tribute  to  the  memory  of  the  late 
Matthew  Arbuckle,  whose  magic  cornet  made  his  name 
a  household  word  with  millions,  will  doubtless  waken 
a  responsive  echo  in  the  heart  of  every  one  who  was 
privileged  to  know  that  brilliant  artist  and  kindly, 
courteous  gentleman :  "  Half-a-dozen  years  ago,"  writes 
a  lady,  one  of  his  pupils,  "  an  old  cornet  hung  upon 
the  wall  of  my  home,  and  it  somehow  happened  that  I 
tried  it  'to  see  how  it  would  go.'  By  a  little  per- 
sistence I  got  a  tone,  and  finally  became  fascin- 
ated with  the  noise  I  could  produce,  and,  working 
away  as  much  as  the  neighborhood  would  endure 
without  complaints  to  the  police,  I  got  some  mastery. 


The  performance  was  horrible,  of  course,  but  one  April 
day  I  appeared  at  Mr.  Arbuckle's  door  in  New  York, 
a  petitioner  for  lessons.  I  remember  how  kindly  he 
received  me;  how  he  gave  me  courage  at  once  by 
commending  my  poor  attempt  at  '  Robin  Adair,'  so 
that  he  could  know  what  I  could  do  and  where  to  be- 
gin with  me.  I  remember  the  next  three  months 
of  his  helpfulness, his  patience,  his  encouragement,  his 
hopefulness ;  how  he  put  no  limit  to  the '  hour's  lesson' 
we  had  bargained  for, and  often  entertained  and  helped 
me  a  whole  afternoon,  sometimes  taking  his  cornet, 
and,  forgetting  ail  the  world  else,  giving  me  his  won- 
derful rendering  of  delightful  airs  and  ballads.     I  re- 


COME,  CHEERFUL  COMPANIONS. 


ViVB   LA   COMPAGNIE. 


M 


IS — K— m- 


:l^qs^ 


m 


■^—^—^ 


=s^s^« 


Lively.]^         •'•'-'g^-^-*--'              -^  -W              -^    -W    -^  ]^ 

1.  Come,  cheerful  companions,    u  -  nite  in    our  song.       Here's  to     the  friends  we  love! 

2.  And    first,  the  dear  pa-rents  who  watch  o'er  our  youth,  They    are  the  friends  we  love ! 

3.  Next, think  of  the   ab-sent  to      all    of    us   dear,       They    are  the  friends  we  love! 

4.  And  here's  to  the  good,  and  the  wise,  and  the  true,       They    are  the  friends  we  love! 


May  boun-ti  -  ful  Heav-en  their  sweet  lives  prolong!      Here's  to   the  friends  we  love! 

And    next  are  the   teachers  who   tell    us    of    truth.       They  are  the  friends  we  love ! 

Oh,  would  they  were  with  us,  we  would  they  were  here !  They  are  the  friends  we  love ! 

Their  beau-ti  -  ful    lives  are  for    me   and  for  y  ou,        They  are  the  friends  we  love ! 


Oh,   sym-pa  -  thy  deepens  whenev  -er  we  sing;  Friendship's  the  mys-ti  -cal  word  in    our  ring; 

-^  ,^    f>    ^  -^ -f--f-  .^  ^  m^m JL 


1 — I    I.    u  L-y-  k  ^  k 


N     S     N     ^     N.^^_^, 


fetzfetdtztft 


\^     ^    \^    ^ 


^ 


-K^-K 


3=S=d=S=i 


:fs==$c=fcfcs 


:^=*t 


:^^S 


Here's  to      our        friends !     Here's  to    our      friends ! 


-W-    -al-    '-«- 

Here's      to     the  friends  we  love  I 


member,  too, his  comical  ninning  to  the  corner  of  the  | 
room  and  hiding  his  face  when  I  had  my  lesson  poorly, 
and  how  he  would  look  over  his  shoulder  laughing  at 
me  and  shouting :  '  Try  it  again,'  and  when  the  work 
was  done  to  his  satisfaction,  how  proud  and  glad  and 
happy  he  seemed.  He  was  every  inch  a  gentleman ; 
in  every  fibre  a  musician.  He  gave  me  music  arranged 
by  his  own  hand ;  he  selected  and  tested  a  cornet  for 
me,  and  all  the  '  crooks '  and '  mutes '  and  mouthpieces, 
and  every  other  appliance  of  a  comelist's  outfit,  and 
there  was  nothing  he  could  do,  by  instruction  and  ad- 
vice, that  he  left  undone.  A  country  girl  of  fourteen, 
alone  in  the  great  city  so  far  as  kindred  were  concerned. 


he  bade  me  welcome  to  his  home.  His  wife  was  almost  a 
mother  to  me,  his  daughter  a  friend  indeed.  I  want  to  say 
how  good  he  was,  how  true  to  his  art,  how  kind,  sweet- 
tempered,  big-hearted — a  noble  man  m  every  thing. 

Christopher  North,  a  lover  of  nature,  never  said 
a  truer  or  a  wiser  thing  than  this,  in  his  Soliloquy  on  the 
Seasons : ''  Turn  from  the  oraclesof  man,  still  dim  even 
in  their  clearest  response — to  the  oracles  of  God,  which 
are  never  dark.  Bury  all  your  books  when  you  feel  the 
night  of  skepticism  gathering  around  you;  bury  them 
all,  powerful  though  you  may  have  deemed  their  .spell 
to  illuminate  the  unfathomable;  open  your  Bible, 
and  all  the  spiritual  world  will  be  as  bright  as  the  day," 


FRANKLIN-SQUARE   SONG    COLLECTION. 


8i 


WHISTLE  AND  HOE. 


1^    ^  . 

1.  There's  a  boy 

2.  Not         a  word 

3.  But,     then,  while 


just     o  -  ver   the 

of    be  -  moaning 

you   whis-  tie     be 


gar    -    den  fence.  Who  is     Avhistling  all  through  the 
his  task,    I    hear;   He  has     scarcely  time  for     a 
sure  that  you  hoe.     For  if      you   are     i  -  die    the 


live-  long  day ;  And  his  work        is     not  just    a  mere  pretence,  P'or  you    see       the  weeds  he  has 
growl,  I    know,  For  his  whis    -   tie  sounds  so  mer-ry    and  clear.  He  must  find  some  pleasure  in 
briers  will  spread ;  And  to  whistle  a  -  lone  to  the  end  of  the  row  May  do    for     the  weeds  but  not 


cut      a  -way.  \ 

ev  -  'ry  row.  \  Whistle  and  hoe,  sing  as  you  go,  Shorten  the  row  by  the  songs  you  know ; 

for  the  bread.  J  songs  you  know. 


SONG  OF  SEVEN. 

Brightly. 


Jean  Ingklow. 


^^^^^^^^ 


clo  -  ver,  There's   no      rain     left  in 

let  -  ter,      My     birth  -  day      lessons  are 
sail  -  ing.    And    shin  -   ing     so  round  and 


There's     no    dew  left    on  the       dai   -   sies  and 

I  am      old,     so   old,  I      can     write       a 
O  Moon !     in  the  night  I  have  seen  you 


J3Eifej^^fe^^^^,k^JV=^fP 


1^ 

heaven;     I've  said     my  "  sev -  en  times"  o  -  ver  and  o  -  ver.  Seven  times  one    are  seven, 
done;       The  lambs  play  always,  they  know     no  bet-   ter.  They  are  only    one  times  one. 

low  •         You  were  bright !  ah,  bright !  but  your  light  is  fail-ing,  You  are  nothing  now  but  a  bow. 

le    ^ff:ff:ff:ff::ff:q?:ff:ff= 


You  Moon,  have  you  done  something  wrong  in 
That  God  has  hidden  your  face  ?  [heaven, 

I  hope,  if  you  have,  you  will  soon  be  forgiven. 
And  shine  again  in  your  place. 

O  velvet  bee,  you're  a  dusty  fellow, 
You've  powdered  your  legs  with,  gold; 

O  brave  marsh  marybuds,  rich  and  yellow, 
Give  me  your  money  to  hold. 
II-  F 


O  Columbine,  open  your  folded  wrapper, 
Where  two  twin  turtle-doves  dwell; 

0  cuckoo-pint,  toll  me  the  purple  clapper, 
That  hangs  in  your  clear  green  bell. 

And  show  me  your  nest  with  the  young  ones  in  it; 
I  will  not  .steal  them  away ; 

1  am  old !  you  may  trust  me,  linnet,  linnet, 
I  am  seven  times  one  to-day. 


82 


FJiANKLIN-SQUARE   SONG    COLLECTION. 


Acquaintance  with  Paganini. — One  of  Ole 
Bull's  father's  assistants  played  the  flute,  and  used 
to  receive  musical  catalogues  from  Copenhagen. 
Ole  devoured  the  names,  and  for  the  first  time  saw 
that  of  Paganini  in  connection  with  his  famous  twen- 
ty-four "  Caprices."  One  evening  his  father  brought 
home  two  Italians,  the  first  Ole  had  ever  seen.  He 
was  then  fourteen  years  of  age,  and  their  talk  was  a 
revelation  to  him.  They  told  him  all  they  knew  of 
Paganini,  the  very  mention  of  whose  name  excited 
him.     He  afterwards  related  the  storv  to  a  friend 


thus:  "I  went  to  my  sympathizer  and  said,  'Dear 
grandmother,  can't  I  have  some  of  Paganini's  music  ?' 
'  Don't  tell  any  one,'  said  the  dear  old  woman,  '  but 
I  will  try  to  buy  a  piece  of  his  for  you  if  you  are 
a  good  child;'  and  she  did  try,  and  I  was  wild  when 
I  at  last  had  the  Paganini  music.  How  difficult  it 
was,  but  oh,  how  beautiful !  The  garden-house  was 
more  than  ever  my  refuge,  and  perhaps  the  cats,  who 
were  my  only  listeners,  were  not  so  frightened  at  my 
attempts  as  at  my  earlier  efforts  to  play  Fiorillo's 
'  Studies,'  when  I  really  drove  them  from  their  food. 


SWEET 

0  tt                     h. 

SONG-BIRD. 

J 

.  L.  MOLLOY. 

/   fto.     f>                 "<                 ». 

r»       fc- 

/»?»>,          N 

. 

p 

J         r 

fc 

1 

r» 

1                    1        *1 

%:\^^—t J- 

~^-J — 

^— 

— ! \ — 

-i J- 

-4*— 

— 1 — 

— Bi — 

1 \-—- 

^¥ — ^*—  S— 

«^               P  Lively. 

1.  Mer  -  ry 

2.  Pur  -  pie 

3.  Blue     is 

of      heart, 
the     vine 
the     sky 

ye 
on 
a  • 

— m — 1 

song  -  birds, 
hill  -  side, 
bove      us, 

L« J_ 

Mer  -  ry 
Gleameth 
Calm  -  ly 

rl (• — 

i  * 

of    heart 
the     as    - 
the     wa    - 

-5^ 

to    - 
ter's 
ters 

— m — , 

day! 
gold, 
flow 

((*J3?,,  r>  1  — ^ 

"8 — ■ — 

H — 

ng-^— «-^— 

"U — ^ 

« 

1    — 

-«-T— g— i^  - 

*— '  son       1 

p 

P         n 

r       r       r^ 

^       LJ           Li 

Li            • 

{« 

• 

p 

1      "          1 

W           W 

^ 

V 

i            I 

1/       i/" 

w 

k 

1                  i         " 

1^ 


*=:«t 


--it=»(: 


■^-- 


\  ar    thro' 
Fair     is 
On       by 


_«Ej_ 1K| ^_ 


the   gold 
the  bloom 
the    for     - 


en  sun  -  shine, 
in  mead  -  ow, 
rest    old    -    en 


Far  on  your  glad  - 
Beau-ty  a  -  round 
Rich  in      the       Au    • 


some  way, 
un  -  told ! 
tumn    glow  I 


Oh, 
Oh, 
Oh, 


I ■ ^ ^ ^ — i 1 U 1 LE^ ^ ^ 1 1^ 1_» W ^ U 


i 


:fs=F 


-t-g-^ 


song  -  bird,  Oh,  song 
song  -  bird,  Oh,  song 
song  -   bird,   Oh,  song 


bird,  Cease  not 
bird,  Cease  not 
bird,  Cease  not 


your  thrill  -  ing  lay; 
your  glad  -  some  lay; 
your  thrill  -  ing    lay ; 


f=^ 


^t  k'==r=g: 


-\ — I  m  — »— 


Oh,  song  bird,  sweet 
Oh,  song  •  bird,  sweet 
Oh,  song   -    bird,  sweet 


^ 


:t 


fc=i 


m. 


I  3a?  verse  only. 


:«=S= 


3Ega 


2^ 


^  s  ^ 


:il=^ 


song -bird,  Glad  are   our  hearts     to-day. 
song- bird,  Mer-ry      our  hearts     to-day. 


song-  bird, Glad  are      our     hearts  to  -   day. 


^ 


jm.'     ^ 


£ 


-r—f- 


£S 


:b— »- 


On  a  Tuesday  quartet  evening,  a  favorite  concerto 
of  Sphor's  lay  on  the  leader's  stand,  and  while  the 
company  were  at  supper  I  tried  the  score.  Carried 
away  with  the  music,  I  forgot  myself,  and  was  dis- 
covered by  Lundholm  on  his  return,  and  scolded 
for  my  presumption.  «\Vhat  impudence!  Perhaps 
you  think  you  could  play  this  at  sight,  boy!'  '  Yes, 
I  think  I  could.'  And  as  I  thought  so,  I  don't 
know  why  I  should  not  have  said  so,  do  you?  The 
rest  of  the  company  had  now  joined  us,  and  insisted 
that  I  should  try  it.     I  played  the  allegro.     All  ap- 


plauded save  the  leader,  who  looked  angry.  '  You 
think  you  can  play  anything,  then?'  he  asked,  and 
taking  a  caprice  of  Paganini's  from  the  stand,  he 
said:  'Try  this.'  Now  it  happened  that  this  very 
caprice  was  my  favorite,  as  the  cats  well  knew.  I 
could  play  it  by  heart,  and  I  polished  it  off".  When 
I  had  finished  they  all  shouted,  and,  instead  of  rav- 
ing, as  I  thought  he  would,  Lundholm  was  more 
polite  and  kind  than  he  had  ever  been  before,  and 
told  me  that  with  very  diligent  practice  I  might  hope 
to  equal  himself  some  day." — Ole  Bull,  a  Memoir- 


FRANKLIN-SQUARE   SONG    COLLECTION. 


83 


Congregational  singing  will  never  become  at 
all  general  or  permanent  until  the  churches  employ 
tunes  which  have  melodies  that  cling  to  the  memo- 
ry and  touch  the  feelings  or  the  imagination.  Mu- 
sic is  not  simply  a  vehicle  for  carrj'ing  a  hymn.  It 
is  something  in  itself.  No  tune  is  tit  to  be  sung  to  a 
hymn  which  would  not  be  pleasant,  in  itself,  without 
any  words.  Any  other  view  of  the  function  of  mu- 
sic, if  it  shall  prevail,  will  in  the  end  bring  music  to 
such  a  tame  and  tasteless  state  that  a  reaction  will 
be  inevitable,  and  the  public  mind  will  go  to  the  op- 


posite extreme.  Thus,  those  who  are  conscientiously 
anxious  to  make  music  a  means  of  religious  feeling, 
will,  by  an  injudicious  method,  produce  by  and  by 
the  very  mischief  which  they  sought  to  cure.  A 
corruption  of  hymns  will  not  be  more  fatal  to  public 
worship  than  will  be  a  corruption  of  music.  And 
any  theory  that  denies  to  church  music  a  power  upon 
the  imagination  and  the  feelings,  as  music,  and 
makes  it  a  mere  servile  attendant;  upon  words,  will 
carry  certain  mischief  upon  its  path,  and  put  back 
indefinitely  the  cause  of  church  music. — Beecher, 


THE  STYRIAN    LAND. 


M 


Andantino. 


P 


(DAS    STEIERLAND. ) 

H 


LUDWIG   C.  SCYDLER,  1844. 


g=^5^=^^g=ES 


^^ 


?«l 


r:=j=r<^ 


1.  From     the     dis-tant  Aar,  where  the     wa-ters  rave,    To  the  Wen  -  dish  land  where  flows  the 

2.  There,    in     for  -  ests  dark,  glad    the    red  fawn  strays ;  On  the  mount -ain  fall   the  sun's  bright 

1.  Hock    vom  Dachstein  an,      wo      der  Aar  noch  haust.  Bis  zum  Wen- den-land  am  Betf  der 

2.  Wo         im  dun  -  keln  Wald  frok  das  Reh-leinspringt,Droben  auf     garstei-ler  Ber  -  ges  - 


^B—^ 


-^  -r 


i 


i 


i 


^ 


W 


^=?=i^r 


:itiiit 


-« — ^- 


Saave,  Where  the  shep-herd- ess    from  her  light  heart  sings,  And  the    hun  -  ter  brave  his  ri  -  fle 
rays,      While  the  brook-let  clear  from  the    glacier  springs  And  the  chamois  climbs  where  bird  ne'er 

Saav\    Wo     die  Sen  -  ne  -  rin    fro  -  he    Jod  -  ler  singi  und  der     Jd-  ger  kuhn  sein  Jagdrohr 
hoh.       Wo    das  Bach-lein  klar  aus    den   Gletschernrinnttind die    Gem- seklimmt am  Fel-sen 


°  ■  \  All  this   good-ly   land     is    the   Styr  -  ian  land.  My      be  -  lov  -  ed,  dear  -  est,  na  -  five 
/>   ■  j-  Dieses  scho-ne  Land  ist  der  Stei  -  rer  Land,  ist   mein    lie  -  bes,  theu  -  res  Hei-  mat 


schwins^i 
rand 


land,      All    this  good-ly  land   is      the     Styrian  land.  My    be- lov- ed, dearest, na-tive  land. 
land,     Die  -  ses  scho  -  ne  Land  ist  der    Stei-  rer  Land,  ist  mein  lie-  bes  theures  Va  -  ter-land. 


When  the  Alpine  vales  with  the  shout  resound. 
Mid  the  chime  of  bells  and  songs  around 
Comes  the  shepherd  lad,  all  his  kine  at  home, 
To  his  dearest  maid,  no  more  to  roam. — C/io. 


Wenn  im  Thai  der  Alp  die  Schal  mei  ertont, 
Unter  Glockenklang  und  hei  term  Lied, 
Kommt  der  Hirtenbub''  mit  den  Kiih'' n  daheim 
Abends  zu  der  allerliebsten  Alaid. — Cho. 


84  FRANKLIN-SQUARE   SONG    COLLECTION. 

THOSE  EVENING  BELLS. 


BeIiLINI. 

Thomas  Moork. 


m       ai — ^- 


^ 


srftK 


^-r-l^ 


^m^ 


EE 


?=^^ 


■^=^ 


w^-J  2  ^~TP 


!"-M 


3B:it 


W=;=^ 


^ 


I.  Those  evening  bells, those  even  -  ing bells!  How  many  a       tale    their    mu  -   sic  tells      Of 


^ 


^=^^ 


fe=^^i=^ 


■4: 


^^^ 


^i=^ 


Mt^ 


f — i— ij: 


0>  ^.  ^ 


youth,  and  home,  and     that  sweet  time  When  last  I  heard  their  soothing    chime! 


Those 


m 


^JX 


^ 


-^r-r 


^^ 


-^"^—1^ 


i 


joy  -  ous     hours  are  passed     a  -  way.  And   many  a      heart   that    then  was  gay 


,   With- 


^^^ 


^^ 


:4=it=ti: 


4=5=i 


— t-*i— — I — 


I 


^f^ 


L-^ii 


:w 


:=1^ 


g^ 


in     the    tomb  now     dark  -  ly  dwells.    And  hears  no 


more    those  even  -  ing  bells,  With- 


p^i^i 


jH: 


V-h#=iar 


i^ 


i^^^ 


^^ 


:^ 


:^ 


:»tt 


^ 


I 

in      the    tomb  now     dark  -  ly      dwells.  And   hears  no  more  those  even-  ing  bells, —         And 


J^: 


-^ 


^    ^    u»- 


^: 


^ 


f 


-IV-JH- 


is^a^s^ 


1^ 


so    'twill 


be    when    I        am     gone ;  That  tune-ful  peal  will  still  ring  on.  While  oth 


it-^-L^^iJjL^ 


i^i 


£3 


T^     k     y^    ^.I 


^1 


FRANKLIN-SQUARE   SONG    COLLECTION. 


bards  shall  walk  these  dells,  And  sing       your  praise,  sweet  even  -  ing      bells,  While  oth     -      er 


mrr-r 


-:ff: 


-^—m- 


^ 


i 


ig 


'■^^ii- 


bards  shall  walk 


I 
these  dells,  And  sing    your  praise,  your    praise,       sweet  evening  bells. 

-p-.-f-     ^— W_j— -8-:    -f-    1^"^-^^ 


N-^-^-a:£ 


2=S«: 


>— N^ 


n- 


FLOAT  AWAY. 


German  Melody. 


^ 


— — ^ H — I 1 1— ^ H 

O'er       land  and         o'er  sea! 

Ye         white,        snow  -  y  throng! 

The       glad  month    for  me! 


1.  Float      a    -     way,         float        a    -    way, 

2.  Float      a    -    long,         float        a    •    long, 

3.  Oh,       the       May!  oh,       the       May! 


wn  r.  ^ 


--^- 


-4H^- 


f 


I         I 


r 


fcz 


N 


=|v: 


Float      a    -    way,         float        a    -    way,  O'eF 

Float      a    -    long,        float        a    -    long.  Ye 

Oh,       the       May!        oh,       the       May!  The 


-^ 


land  and         o'er  sea! 

white,        snow  -   y  throng! 

glad  month     for  me! 


W- 


e 


^ 


-F-'—^-^m- 


:^ 


4S- 


f 


■t— P- 


^^^^ 


Dark       clouds,  stay       not  hith   -   er. 

No  long  -    er         ye  hov   -   er 

The         birds     and        the  flow  -  ers. 


We  wait      for         fair  weather. 

The  green   mea  -    dows         o   -    ver; 

The  bright -fall    -    ing  show -ers. 


^l 


ii=Sr. 


f-- 


f 


f 


f 


*^^ 


^ 


^E^^^^g 


Float 
Float 
I'm 


a  -  way,  float 
a  -  way,  float 
a    -    way,  I'm 


way, 
way, 
way. 


And 

Oh, 

On 


^el 

haste 
the 


come      the 
ye 


day! 
way! 


wings     of  the       May. 


f- 


=F 


86 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Luther,  to  a  certain  extent,  attempted  to  imitate 
the  work  of  King  David;  and,  as  the  latter  used  the 
ancient  Egyptian  music  as  a  groundwork  of  his  sys- 
tem, so  Luther  sought  out  and  endeavored  to  preserve 
all  that  seemed  to  him  beautiful  in  the  Catholic  ser- 
vice. He  was  especially  anxious  that  the  Evangeli- 
cal Church  should  not  seem  to  be  the  foe  of  any  of 
jthe  fine  arts,  but  should  use  and  foster  them.  He 
says,  "I  rejoice  to  let  the  seventy-ninth  Psalm, 'O 
God,  the  heathen  are  come,'  be  sung  as  heretofore  by 
one  choir  after  another,  ....  just  as  it  was  in  the 
Popish  fasts,  for  it  sounds  and  looks  very  devotional." 
Speaking  of  his  desire  to  make  thorough  reforms  in 
the  music  of  the  people,  he  writes  to  a  friend,  "  I 
wish  after  the  example  of  the  prophets  and  ancient 
fathers  of  the  Church,  to  make  German  Psalms  for 
the  people — that  is  to  say,  sacred  hymns — so  that  the 


Word  of  God  may  dwell  among  the  people  by  means 
of  song  also."  It  was  in  this  year  that  the  first 
hymnal,  spoken  of  above,  was  issued.  Its  title  reads, 
"Some  Christian  Songs  of  Praise  and  Psalms,  made 
from  the  pure  Word  of  God,  from  the  holy  Scriptures, 
by  several  highly  learned  men,  to  be  sung  in  the 
Church,  as  is  already  partially  the  practice  in  Witten- 
berg, 1524."  The  success  of  these  hymns  was  im- 
mediate, and  from  this  time  there  began  a  composi- 
tion, arrangement,  and  adaptation  of  chorals  which 
remains  unparalleled  for  fertility  and  activity.  Every 
pastor  seemed  to  think  it  part  of  his  duty  to  arrange 
or  compose  at  least  one  hymn  to  the  glory  of  God,  and 
many  gave  forth  whole  collections.  Thousands  were 
published  even  in  the  early  days  of  the  Reformation, 
and  to-day  each  principality  and  almost  each  city  has 
its  special  collection  of  psalms  and  of  chorals. — Ehon. 


THE  HUNTER'S  SONG. 

Allegretto. 


SCHAFFER. 

9P^   Jf 


1.  See  the  sun's  first  gleam  on  the  mountain  stream,  Now  chant  your  chorus  gay,  tra, la,  la, la, Come, 

2.  The       chamois    fleet     we       long  to  meet,  With  dawn's  first  blushing  ray,  tra,  la,  la,  la,  With 

3.  Then  at      e  -  ven-tide  when  the  sun  doth  hide  Be  -  hind  yon  mountain  gray,  tra,  la,  la,  la,  And 


comrades,    rouse  from     sloth -ful  dream.  With  joy-  ous  hearts  view  the  morning  beam.  For 
smil  -  ing    face     and      bound  -  ing  feet.  We'll  seek  him     in       his        lone  re  -  treat.  So   a- 
shad  -  ows   veil      the       land-scape  wide,  A  -  down  the     rock-  y       steep  we'll  glide.  And 


soon  we  must  a  -  way, 
away  to  the  hills  a  -  way, 
hail   the     close  of   day, 


For  soon  we  -  must  a  -  way, 
So  a  -  way  to  the  hills,  a  -  way. 
And   hail  the   close  of    day. 


^=1 

tra,  la,  la,  la,  tra, 
tra,  la,  la,  la,  tra, 
tra,  la,  la,  la,  tra, 


la, la, 
la, la, 
la, la. 


*"• 


FRANKLIN-SQUARE  SONG    COLLECTION. 


The  natural  history  of  music  is  full  of  wonders. 
It  is  as  if  the  Giver  of  all  good  gifts  had  presided 
over  the  creation  of  this  with  especial  love  and  ten- 
derness, fencing  it  round  with  every  possible  natural 
security  for  its  safe  development,  and  planting  it 
among  those  instincts  we  have  least  power  to  pervert. 
The  sense  of  time,  which  is  music's  first  law,  is  alone 
a  marvelous  guarantee.  It  is  the  first  condition  of 
musical  being — a  natural  regularity,  which  we  can 
only  beai  to  hear  transgressed  from  the  pleasurable 
surprise  in  which  the  mind  is  kept  for  its  return.  But 
the  true  timist  is  time  all  over;  see  the  orchestra 
conductor,  with  his  little  wand,  by  which  he  may 
communicate  to  hundreds  of  performers  the  electric 
flow  of  true  musical  measure,  and  by  which  the 
evanescent  vibrations  of  sound  seem  knit  together 
for  action.     And  then  the  readiness  with  which  the 


memory  lends  itself  to  the  service  of  music,  is  a  very 
marked  phenomenon  peculiar  to  this  faculty.  What 
a  paradox  it  is,  that  what  the  mind  receives  with  most 
passiveness,  it  retains  with  most  fidelity — laying  up 
choicest  things  in  musical  thought  or  expression,  to 
be  ready  at  any  moment  for  spontaneous  reproduc- 
tion? For  not  even  the  exertion  of  our  will  is  re- 
quisite— a  thought,  nay,  the  slightest  breath  of  a  hint, 
is  sufficient  to  set  the  exquisitely  sensitive  strings  of 
musical  memory  vibrating,  and  the  emotions  that 
have  lain  buried  for  years  will  come  back  with  a 
melody.  Pictures,  poetry,  loves,  hatreds,  and  prom- 
ises of  course,  are  all  more  fleeting  than  tunes.  There 
is  no  such  pitiless  invoker  of  the  ghosts  of  the  past 
as  one  bar  of  a  melody  that  has  been  connected  with 
them.  No  such  sigh  or  sob  escapes  from  the  heart, 
as  that  in  the  train  of  some  musical  reminiscence. 


GUADALQUIVER 


C.  Nelson. 
Charles  Jeffreys. 


Allegretto  Grazioso. 

1.  Gua-dal  -  quiv-er,  gen -tie  riv  -  er!    O'er  the  vales  of    fer  -  tile  Spain,          In  the 

2.  Bright  as     ev  -  er  are   thy  wa  -  ters !  And    I  love  to   look    on  thee.           For  thy 

-^^  -m-  -^  -m-  .fi.  4^  M-  -m-'  -m-  -^  ^  4=^ 


sun  -  shine       of  thy    beau  -  ty.      Like   a      mon  -  arch,    thou    dost      reign, 
brightness         is    an      em  -  blem     Of      re-  turn-  ing      joys     to  me: 


On      thy 
Qua  -  dal" 


^   ^     f^      te_^ 


Jb=|k: 


^- 


i 


U=fc2: 


-ts- 


^- 


n 


^^^^P?P 


'Sl 


:iG^?^ 


1 


g=g=gqE;gEg 


f^ 


banks  I    love    to    wan-der.     In  the  summer  moon-beam's  glance,  When  I  -  be- ria's  dark  -  eyed 
quiv  -  er,  gen  -  tie     riv  -  er !  Thou  dost  wake  the  old-en      strain,      And  the  songs  I    sung     in 


daughters     Mingle    in     the   joy  -  ous      dance.      Gua-dal- quiv„er,     gen-tle     riv  -  er,   O'er  the 
child-hood.  Now  shall  welcome  thee  a        gain,        Gua-dal -quiv-er,    gen-tle     riv  -  er.   O'er  the 


vales  of     fer    -    tile    Spain,      In  the  sunshine  of  thy   beau-ty,  Like  a  monarch,  thou  dost  reign. 

t — I t^->-V-i — 


88 


FRANKLIN-SQUARE   SONG    COLLECTION. 


i 


CHEER,  BOYS,  CHEER. 


^ 


h.  russhll. 
Charles  Mackay. 


& 


^=^=^ 


;i3 


^=J^= 


1.  Cheer,  boys,  cheer,       no      more     of        i    -    die      sor  -  row.    Courage !     true  hearts    shall 

2.  Cheer,  boys,  cheer,      the      stead  -  y     breeze   is      blow  -  ing.     To    float       us    free    -    ly 


^^ 


^^^ 


:^=i: 


* 


t-9 


iz=*=i=i=i^zi^ 


-s*- 


t    -J-    ^     _ 

bear     us     on       our  way ;         Hope  points  be  -  fore       and  shows   the   bright  to  -  mor  -  row ; 
o'er    the     o  -  cean's  breast ;      The    world  shall  fol    -    low     in       the     track  we're  go   -   ing, 


-4^-e-tt 


i:i=* 


i 


;--e-^- 


-*•- 


^ 


-=-» — !•— = — ! — —m- 


?*: 


^^^=^- 


!e*= 


i 


1 


:S33Ea 


Let       us      for  -  get 
The     star    of      Em 


=JJp: 


f 


the      dark  -  ness  of        to  -  day. 
pire      glit  -    ters   in       the  West. 


«i±=r=i^ 


^ 


-ig->- 


f 


^ 


So        fare  -  well,  England, 
Here     we      had     toil   and 


J^fcEF 


^ 


much  as    we     a-dore     thee,   We'll    dry     the  tears 
lit    -  tie     to     re -ward     it,      But      there  shall  plen 


that     we    have  shed      be  -  fore ; 
ty      smile  up   -  on        our  pain; 


^^^^^ 


.^*^ 


:p=P 


t*=f 


=gte:^g=^i 


Z-T^ 


i^ 


^S^^^i^^^^il^g 


:^=i^ 


Why    should  we  weep     to  sail      in    search    of      for      tune?  So      fare  -  well,  England !  fare - 
And       ours   shall  be       the  prai  -  rie      and     the     for    -    est,     And  bound  -  less  meadows   ripe, 

l^^-^-gyg-— -g-— -g-— g— -g-   -r :  -^- ,  fz  -:e—^-z~^-n 


:^=F=§^ 


:t2=t: 


:=1: 


H 


for  -  ev  -  er  -  more. 
with    gol  -den    grain. 


rf 


3^E^3 


"•■-  ^-  -^- 


Cheer,    boys,  cheer       for      coun  -  try,  moth  -  er     coun  -  tiy, 
Cheer,    boys,  cheer       for       England,  moth  -  er      Eng  -  land, 


i 


_iF-_ 


.!•: 


]:=«=g=«: 


:r^-t3^- 


:tzzz:t=: 


FRANKLIN-SQUARE   SONG    COLLECTION. 


89 


^m 


1^ 


^i^ 


Cheer, 
Cheer, 


boys,  cheer 
boys,  cheer. 


the 


U=5= 


will  -  ing   strong   right  hand, 
nit    -   ed    heart      and  hand, 


Cheer,    boys,  cheer,    there's 
Cheer,   boys,  cheer,    there's 


t-ealth  for     hon  -  est      la    -    bor,    Cheer,  bovs,  cheer    for     the    new    and  hap  -  py  land ! 

Xs^ — le- 


MAKE  YOUR  MARK. 

/ 


:^=aii=«= 


i 


•  / 


-m — m — m- 


>     > 


3^i^=ii= 


h: 


:i=g: 


:i^=it 


■+  - 


-*    ^    -J- 


^ 


Finnly.-^ 

I.  In  the  quar-ries  should  you  toil,  Make  your  mark!  Make  your  mark !  Do  you  delve  up  - 
z.  Would  you  seek  for  treasures  rare,  Make  your  mark !  Make  your  mark  !  Wealth  that  will  with 
3.  Life      is     fleet  -  ing      as     a  shade,  Make  your  mark !  Make  your  mark !  Marks  of  some  kind 


on  the  soil,  Make  your  mark !  Make  your  mark !  In  what  -  ev  -  er 
gold  com  -  pare,  Make  your  mark !  Make  your  mark !  While  the  light  is 
must   be  made.  Make  your  mark !  Make  your  mark!       Make  it    while  the 


path   you    go, 

in    thine  eye, 

arm    is  strong. 


In       what-  ev  -  er      place 
While  the  bloom    is       on 
In        the    gol  -  den   hours 


you  stand,  Mov-ing 
thy  cheek.  Ere  the 
of  youth,  Nev  -  er, 


swift   or     mov  -  ing  slow, 

toils  and  cares  of  life, 

nev  -  er     make  it  wrong, 


P%^-tP k JP ^ 


-f-f- 


With  a  firm  and 
Make  the  res-o  - 
Make  it  with  the 

^ 


g=a=g=P 


s 


;^=t2: 


fc^ 


/ 


:■!=*: 


:n=*^ 


^ »L 


-4*-*— (•- 


hon  -  est  hand,  Make  your 
lu  -  tion  weak,  Make  your 
stamp  of     truth,    Make  your 


mark,  Make  your 
mark.  Make  your 
mark,         Make  your 


mark.  Make,  make 
mark.  Make,  make 
mark,        Make,    make 


your  mark! 
your  mark ! 
your   mark ! 


^ 


fet 


3?=t 


^=* 


^ 


:tSEt 


90 


FRANKLIN-SQUARE   SONG    COLLECTION. 


How  true  was  the  conception  of  the  influence 
which  the  "harmony  of  sweet  sounds"  exerts  over 
the  soul,  in  the  mind  of  him  who  said,  "  I  would 
rather  write  a  nation's  ballads  than  make  its  laws." 
How  different  the  law-giver's  place  in  the  estimation 
of  the  people  from  that  of  the  bard.  To  the  one 
they  accord  reverential  respect;  to  the  other  a  true 
heart-aflection  and  love, handed  down,  undiminished 
by  the  lapse  of  centuries,  from  generation  to  gener- 
ation. The  one  lives  in  his  laws,  but  what  power 
liave  they  over  the  heart  so  long  as  they  allow  it  to 


beat  freely?  The  other  lives  in  his  songs,  and  they 
can  cause  the  heart  to  beat  and  throb,  and  the  soul 
to  move  and  surge  like  the  restless  waves  of  the  sea. 
There  are  few  of  us  whose  hearts  have  not  been 
swayed  by  the  power  of  national  music — stirred  by 
those  grand  anthems  of  liberty,  the  "  Star  Spangled 
Banner,"  and  "Hail  Columbia," — few  who  have  not, 
at  some  time,  noted  its  effect  upon  others — the  ecstatic 
rapture  of  the  Frenchman  thrilled  by  the  inspiring 
notes  of  the  "Marseillaise;"  the  deeper, sterner,  joy- 
ous pride  that  wells  up  in  the  heart  of  the  German  as 


OH,  TAKE  ME  BACK  TO  SWITZERLAND. 


Tyrolese  Air. 
Caroline  Norton. 


3 


4==^=^ 


=^= 


=^:^^.g^:t^Srtr^^ 


:qs=i|: 


=3^ 


:^ 


I 


V  T  %'.  s-  '-Sl^ 


1.  By    the   dark  waves  of   the     roll  -  ing  sea,  Where  the  white-sail'd  ships      are     toss-ing  free, 

2.  I  see    its   hills,    I        see     its  streams.  Its  blue  lakes  haunt     my    restless  dreams 

3.  For         months a-long  that  gloom-y  shore, 'Mid  sea    bird's  cry       and     ocean's  roar, 


^^^^^^^MM 


■I f—^ ^ :^ 1 1 


:^-j-lg--^-^-^_-H-r=^J^^ 


Came  a  youthful  maiden,  Pale  and  sor- row  -  la  -  den,  With  a  mournful  voice  sang  she:  "Oh, 
When  the  day  de-clin-eth.  Or  the  bright  sun  shineth,  Pres  -  ent  still  its  beau  -  ty  seems.  Oh, 
Sang  that  mournful  maiden.  Pale  and  sorrow    la  -  den.  Then  her  voice  was  heard  no    more.   For 


^ 


i^ 


fe# 


i 


^         k        k        i^         l^         1^ 


^ 


i 


«?* 


^^^^Ep 


f^^*?^? 


take 
take 
far 


me  back  to  S\vitz-er  -  land,  My  own,  my  dear,  my  na 
me  back  to  Switz  -  er  -  land,  Up  -  on  the  mountain  let 
a   -   way  from  Switz -er  -  land,   From  home,  from  friends,  from  na 


r-  r-'-T- 


^^^g^ 


--f?:!--r- 


*-^ 


tive  land  J         I'll 
me   stand,      Where 
tive   land.       Where 


is==.:=r 


£=^fe= 


pt# 


1^    ^ 


S±^ 


^^^ 


s 


J^=t 


i 


E5 


-^-f< 


m 


brave       all    dan  -   gers     of     the   main,      To        see     my    own     dear 
flow'rs     are  bright,  and   skies   are   clear,      For       oh !      I      pine,      I 
for     -      eign  wild  -  flow'rs  cold  -  ly     wave.     The      bro  -  ken  -  heart  -  ed 


I 


nu      a  -   gam. 

per   -   ish     here !  " 

found    a      grave. 


r 


:ff=F 


i= 


z^-^: 


ta: 


>— tr 


he  hears  the  loved  "  Wacht  am  Rhein;"  the  patri- 
otism which  fills  the  heart  of  the  Highlander  as  he  lis- 
tens to  the  well-known  "  Scots,  wha  hae  wi'  Wallace 
bled."  But  the  influence  of  music  over  individuals  is 
still  stronger,  sweeter,  holier.  How  the  heart  bowed 
•down  with  crushing  sorrow  is  comforted  and  soothed 
by  its  holy  charm  !  How,  after  long  wanderings  from 
the  innocent  paths  of  youth,  the  weary,  sin-sick  snul 
is  recalled  to  the  life  of  truth  by  hearing  some  well- 
remembered  strain — perhaps  once  sung  by  a  dear 


angel  mother  in  days  gone  by.  In  after-life,  when 
youth's  pleasures  and  hopes  have  given  place  to  age's 
cares  and  disappointmentSihow  remembrances  of  the 
past  are  brought  back,  like  bright  pictures,  by  snatches 
of  songs  sung  in  those  gay  hours  of  long  ago.  Then 
blessed  be  music,  with  all  its  power  of  witchery  and 
enchantment !  Blessed  be  its  holy  mission  of  carry- 
ing us  away  from  the  bare,  discouraging,  realities  of 
our  lives  back  to  the  pleasure-fields  of  the  past,  or 
forward  in  anticipation  to  the  glad  joys  of  the  future. 


FRANKLIA'-SQUARE   SONG    COLLECTION. 


91 


LIGHT  OF  OTHER  DAYS. 


M.  \V.  Balfh. 
Words  by  Alfred  Bunn. 


1.  The  light     of     oth  -  er    days    is      fa    - 

2.  The  leaf  which  au  -  tumn  tem-pests  with 


ded,    And       all      their  glo  -  ries 
er,     The      birds  which  then    take 

,      -^^  ^ 


past, 
wing, 


-*^r 


For  grief  with  heav  -  y    wing  hath  sha  -  ded      The  hopes    too    bright 
When  win  -  ter's  winds  are  past,  come  hith  -  er.      To       wel  -  come  back 


to 
the 


m 


r-r- 


■Br- 


wm 


r—r- 


^.  ii 


X  it  11 


:^  b     k  >" 


^     1/ 


^ 


-5? — 5^- 


fc^ 


m 


IP 


m. 


last; 
spring; 


The       world 
The  ve 


which  mom-ing's  man  -  tie    cloud 
ry        i    -    vy      on      the      ru 

4B.  -^  -m-  -m-  - 


ed, 


Shines 
In 


^ 


-»»— - 


:fet 


^ 


^^ 


=^^==f^ 


-•U-*U-'-«i 


:iJ=iC 


forth 
gloom 


:5^ ^ 


with   pur 
full    life 

—I* — si#- 


er      rays, 
dis  -  plays. 


But     the    heart 
But     the    heart 


ne'er  feels,    in      sor 
a  -  lone    sees    no 


if^P 


3^^ 


r=r^H=^ 


m 


^-=^ 


%-^ 


W=%' 


shroud 
new 


ed, 
ing 


The 
The 


light 
light 


of 
of 


oth 
oth 


days, 
days, 


But 
But 


the 
the 


?5= 


9*= 


-^ m- 


:t2=t^izt 


heart    ne'er  feels,  in      sor -row      shroud      -      ed,  The  light         of    oth     -      er   days, 
heart       a  -  lone  sees    no      re  -   new   -   ing  The  light         of    oth     -     er  days. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


In  1827,  Beethoven  was  dying.  He  had  heard 
with  surprise  that  Schubert  had  composed  more 
than  five  hundred  songs,  and  spent  some  of  his  last 
hours  in  reading  them  ( the  only  way  in  which  they 
could  reach  him )  over  and  over,  exclaiming,  "  I  too 
should  have  set  this  music."  Schubert  came  with 
one  of  the  brothers  Huttenbrenner,  to  inquire  for 
the  master.  Beethoven  was  lying  almost  insensible ; 
but  as  they  approached  the  bed,  he  appeared  to  rally 
for  a  moment,  looked  fixedly  at  them  and  muttered 
something  unintelligible.  Schubert  stood  gazing  at 
him  for  some  moments  in  silence  and  then,  suddenly 
bursting  into  tears,  left  the  room.  On  the  day  of  the 
funeral  Schubert  and  two  of  his  friends  were  sitting 
together  in  a  tavern,  and,  after  the  German  fashion. 


they  drank  to  the  soul  of  the  great  man  whom  they 
had  so  lately  borne  to  the  tomb.  It  was  then  pro- 
posed to  drink  to  that  one  of  them  who  should  be 
the  first  to  follow  the  great  departed,  and  hastily  fill- 
ing the  cup,  Schubert  drank  to  himself. — Haiveis. 
The  nature  of  music  is  three-fold,  like  that  of  a 
man  to  whom  it  appeals.  Therefore  it  may  be  re- 
garded as  a  sensuous  art,  in  that  it  delights  the  ear; 
as  a  psychologic  art,  in  that  it  records  the  emotions, 
and  requires  mental  operations  on  the  part  of  the 
hearer  for  its  due  appreciation ;  and,  as  it  involves 
agreements,  differences,  symmetries,  complexities, 
with  other  marketl  qualities,  among  them  order  in 
apparent  disorder,  it  may  be  regarded  as  a  branch 
of  science   that   is    closely  allied   to  mathematics. 


ROCKED  IN  THE  CRADLE  OF  THE  DEEP. 

N     N     iS 


J.  p.  Knight. 
Emma  Willakd.  1832. 


1,  Rock'd  in    the    cra-dle    of   the     deep,  I     lay  me     down         m  peace  to  sleep.        Se 

2,  And    such  the  trust  that  still  were  mine,       Tho'  stor-my    winds    swept  o'er  the  brine.       Or 


cure      I      rest  up  -  on    the      wave,        For  thou.  Oh !    Lord,      hast  pow'r    to      save, 
tlio'     the  tempest's  fie  -  ry       breath        Roused     me     from  sleep  to  wreck  and  death. 


S 


P      P     ^     ^ 


±g^— ^ 


— H 1 W- 


s   ^ 


^ 


-*— K 


^ 


:^I=t|i 


^^ 


=S 


I 


3 


:^=|5 


:*=it 


5it 


J    ^  '   J 


call,         For     thou      dost  mark  the  spar  -  row's  fall; 
Thee,       The    germ       of     im  -  mor  -  tal    -    i    -    ty ; 


know   thou  wilt   not  slight  my 
o      -   cean  cave  still  safe    with 


And 
And 


^^ 


-f-f-fH-f 


S=Srt=S: 


t 


V-   1/    ^     |g 


t»      1^      i^      i^        »    li^ 


m 


J: 


PP 


^ 


9  ♦    9  ^FW 


^ 


22: 


^~1^  M  ^-^^- 


:n=?5 


calm     and     peaceful      is     my 


l»      P 


g^^ 


sleep     .     .    Rock'd  in     the  era  -  die    of      the  deep. 


And 


g       g-  g=g 


i 


L   I     i>- 


1^    »*  1^  t^ 


i 


f 


^3 


m 


-#s=* 


Biit 


calm     and   peace-ful      is     my 


-^ — m- 


^. 


fef 


sleep,     .     .    Rock'd    m      the   era  -  die     of      the 


]8 — f-LS-f-^-ft- 

-f— 1- ^ — I 1- 


-i=2_ 


m 


fe=i^ 


-te»      ~^~^-^^ — k- 


1^      W 


FRANKLIN-SQUARE   SONG    COLLECTION. 


93 


I  DREAM  OF  ALL  THINGS  FREE. 


Von  Weber. 
Felicia  Hemans 


P 


^ 


^—^r~^—r 


-J^Ml 


Allegro  Moderate. 


1.  I     dream     of         all       things  free, 

2.  I     dream     of         some  proud  bird, 

3.  Of  a  hap        -     py      for  -  est    child, 


r-r 


Of  a  gal  -  lant,  gal  -  lant 
A  bright-eyed  moun  -  tain 
With  the    fawns  and   flowers  at 


E 


S 


JB=N: 


^- 


^ 


-K-^ 


^^ 


:*zr--e*i^ 


-^- 


^^^Pi^^^ 


--^- 


:Sc 


V 


T 

its 
his 
his 


bark, 
king; 
play; 


That  sweeps  thro'  storm  and       sea, 
In  my  vis  -  ions      I      have      heard 
Of  an   In-  dian 'midst  the        wild. 


m 


^. 


■      I  I 

Like  an      ar   -   row  to 

The  rush  -  ing  of 

With  the  stars       to  guide 


^ 


re=e- 


:f»=!e 


4^=P 


^    i**"  I   I 


I 


IS     IS 


:i=i= 


:^^ 


i^^P^ 


i 


-^-=^ 


-^ — '- 


r 


.    .  Goes     bounding       in 


zr-'i 


mark; 
wing, 
way; 


Of  a 
I  fol 
Of  a 


m 


-^-- 


f=l=Ff 


stag      that      o'er      the       hills    . 

low      some    wild     riv    -   er     .     . 

chief    his        war  -  riors     leading; 


^ 


i-ing 

On  whose  breast  no     sail 
Of  an   ar    -    cher's  green 


his 
may 
•  wood 


^^ 


:^=t?=t^ 


:t=t= 


?^ 


1 


^F^ 


sa-L-Ji^ 


g 


:iW 


^ 


?^=r="^ 


rr 


^rr 


Of     a    thou  -  sand       flash  -  ing 
Dark      woods  a  -  round  it 

My         heart  in   chains  is 


t^=i^ 


rills;  Of       all     things  glad 

shiv  -   er —  I       dream         of  all 

bleed  -  ing;  And  I  dream      of  all 

:gi-_-p-  ^ 


and 

things 
things 


0         1 

1^ 

1 — I— 

wfA- 

— ^ 

■^J — -1" 

— te"^ 

5~  J ,,__ J 

1 

=1''^^- 

— S"*" 

— (— 

=± 

1 — 

- 

d 

free, 
free; 
free; 

Of    a 
Dark    v 
My        1 

thou  - 
koods 
leart 

sand 
a    - 
in 

■  ' 

flas 
roi 
cha 

=!■ 

h  - 

md 
ins 

ing 
it 

is 

rills; 
shiver 
bleeding ; 

I     d 

Andic 

— » — 

all 
ream 
ream 

things  glad 
of      all 
of      all 

and 
things 
things 

^=t= 

^— 

— B    S~ 

4= 

-t 

"1 ( 

_t: 

-^ — 

^ 

1 

U       : 

i 


> 


i 


_«i__. 


tr-^ 


free, 
free, 
free. 


:?2z: 


Of  all  things  glad  and  free, 
I  dream  of  all  things  free, 
And  I  dream    of        all       things     free. 


f==«=f=« 


glad  and  free, 
all  things  free, 
all       things    free. 


t^ 


:t=: 


94 


FRANKLIN-SQUARE   SONG    COLLECTION. 


"Cheer  thee, my  Nymphalin,"  said  the  prince  of 
the  fairies,  "we  will  lay  the  tempest;"  and  he  waved 
his  sword  and  muttered  the  charms  which  curb  the 
winds  and  roll  back  the  marching  thunder;  but  for 
once  the  tempest  ceased  not  at  his  spells ;  and  now, 
as  the  fairies  sped  along  the  troubled  air,  a  pale  and 
beautiful  form  met  them  by  the  way,  and  they  paused 
and  trembled.  For  the  power  of  that  Shape  could 
vanquish  even  them.  It  was  the  form  of  a  Female, 
with  golden  hair,  crowned  with  a  chaplet  of  withered 
leaves;  her  bosom,  of  an  exceeding  beauty,  lay  bare 
to  the  wind,  and  an  infant  was  clasped  upon  it, 
hushed  into  a  sleep  so  still  that  neither  the  roar  of 
the  thunder,  nor  the  livid  lightning  flashing  from  cloud 


to  cloud,  could  even  ruffle,  much  less  arouse,  the 
slumberer.  And  the  face  of  the  Female  was  unut- 
terably calm  and  sweet  (though  with  a  something  of 
severe );  there  was  no  line  or  wrinkle  in  her  hueless 
brow ;  care  never  wrote  its  defacing  characters  upon 
that  everlasting  beauty.  It  knew  no  sorrow  or  change ; 
ghost-like  and  shadowy  floated  on  that  Shape  through 
the  abyss  of  Time,  governing  the  world  with  an  un- 
questioned and  noiseless  sway.  And  the  children  of 
the  green  solitudes  of  the  earth,  the  lovely  fairies  of 
my  tale,  shuddered  as  they  gazed  and  recognized — 
the  form  of  Death.  "And  why,"  said  the  beautiful 
Shape,  with  a  voice  as  soft  as  the  last  sighs  of  a  dy- 
ing babe;  "why  trouble  ye  the  air  with  spells?  mine 


SWITZER'S  SONG  OF  HOME. 


_| IN S N h- — >  ,    1^ 


*i=sl=J 


Ignatz  Moscheles. 

4S- 


s^ 


^g 


1.  Why       ah    why,   my   heart,  this 

2.  All       that's  dear    to      me      is 


is 
no 


txil        wiiy,      lily       ll&dXL 

that's  dear    to      me 

Give      me    those,    I       ask 

1^  •   Iff:   IT:    ft   :e   le    -£2.  ^ 


sad  - 
want 
oth 


ness? 
ing, 
er, 


g:rWz=z^ZE=N      W      ^— !"=!* 


Why  'mid  scenes  like  these  de 
Lone  and  cheer  -  less  here  I 
Those      that   bless    the   hum  -  ble 


-m — m — m — ^ 
-U— l^— r= 


i 


S 


P=P: 


^z=zU=U=l?     U     V 


f=r=5 


:=!= 


^ 


^^ — ^-x:^ — r  N  h  ^  ^ 


S3: 


cline  ? 


i»-^- 


iE£ 


Where  all,  tho' strange,  is  joy  and  glad-ness, 
roam;  The  stran-ger's  joys,  howe'er  en  -  chanting, 
dome,         Where  dwell   my   fa  -  ther  and  my     moth  -  er. 


Say,    what  wish  can  yet  be 

To    me       can  nev  -  er    be  like 

Give,     oh,  give  me  back  my 


is  the  hour  and  the  empire,  and  the  storm  is  the  crea- 
ture of  my  power.  Far  yonder  to  the  west  it  sweeps 
over  the  sea,  and  the  sea  ceases  to  vex  the  waves ;  it 
smites  the  forest,  and  the  destined  tree,  torn  from  its 
roots,  feels  the  winter  strip  the  gladness  from  its 
boughs  no  more !  The  roar  of  the  elements  is  the 
herald  of  eternal  stillness  to  their  victims;  and  they 
who  hear  the  progress  of  my  power  idly  shudder  at 
the  coming  of  peace.  And  thou,  O  tender  daughter 
of  the  fairy  king!  why  grievest  thou  at  a  mortal's 
dooin  ?  Knowest  thou  not  that  sorrow  cometh  with 
years,  and  that  to  live  is  to  mourn  ?  Blessed  is  the  flow- 
er that,  nipped  in  its  early  spring,  feels  not  the  blasts 
that,  one  by  one,  scatter  its  blossoms  around  it,  and 
leave  but  the  barren  stem.     Blessed  are  the   voung 


whom  I  clasp  to  my  breast,  and  lull  into  the  sleep 
which  the  storm  cannot  break,  nor  the  morrow  arou.se 
to  sorrow  or  to  toil.  The  heart  that  is  stilled  in  the 
bloom  of  its  first  emotions, — that  turns  with  its  last 
throb  to  the  eye  of  love,  as  yet  unlearned  in  the  possi- 
bility of  change, — has  exhausted  already  the  wine  of 
life,  and  is  saved  only  from  the  lees.  As  the  mother 
soothes  to  sleep  the  wail  of  her  troubled  cliild,  I  open 
my  arms  to  the  vexed  spirit,  and  my  bosom  cradles  the 
unquiet  to  repose!" — The  fairies  answered  not, for  a 
chill  and  a  fear  lay  over  them,  and  the  Shape  glided 
on ;  ever  as  it  passed  away  through  the  veiling  clouds 
they  heard  its  low  voice  singing  amidst  the  roar  of  the 
storm ,  as  the  dirge  of  the  water-sprite  over  the  vessel  it 
hath  lured  into  the  whirlpool  or  the  shoals. — Bukver. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


95 


Beethoven's  forte  was  extempore  playing,  which 
must  have  been  extraordinary  from  what  is  said  of  its 
efiects;  but  he  was  entirely  destitute  of  the  coolness 
and  self-possession  necessary  for  the  accurate  ren- 
dering of  written  music,  and  probably  his  published 
works  have  been  played  by  others  with  much  more 
eflect  than  he  usually  gave  them  himself.  It  was 
the  same  with  his  conducting  of  the  orchestra,  in 
which  even  before  his  deafness,  he  often  confused  the 
players  rather  than  assisted  them.  One  story  is  told 
which  conveys  some  idea  of  his  want  of  presence 
of  mind  under  such  circumstances.  He  was  in  the 
habit,  when  conducting,  of  expressing  a  loud  pas- 
sage by  throwing  his  anns  up,  or  out,  at  full  stretch. 


When  playing  one  of  his  own  concertos,  during  a 
long  passage  for  the  band  where  the  piano  was  silent, 
he  forgot  his  position,  and  fancying  he  was  conduct- 
ing, threw  his  arms  out  at  a  certain  loud  chord,  and 
knocked  both  candles  off  the  piano,  and  when  they 
were  picked  up  and  the  passage  repeated,  by  the  time 
the  same  chord  recurred  he  had  forgotten  the  acci- 
dent and  did  the  same  again.  The  audience,  with  all' 
their  respect  for  him,  were,  naturally  enough,  con- 
vulsed with  laughter,  which  so  irritated  him  that  at 
the  next  solo  he  broke  several  strings  of  the  piano. 
When  to  this  nervous  excitability  was  added  hi* 
lamentable  affliction,  deafness,  it  is  no  wonder  that  at 
last  his  friends  persuaded  him  to  relinquish  the  task. 


THE  CARRIER  DOVE. 

1 


i 


D.  Johnson. 


^r=fi 


S^ 


m    *l- 


^^ 


& 


-•I— *• 


:il=^ 


-^ --ii— 

sweet     dove ! 

the       chain 

sweet      dove ! 


.  j-j*- 

)-U.     ^ 


1.  Fly    a-  way 

2.  Oh!  fly 

3.  I     shall  miss 


to    my  na 

to    her       bower, 
thy  vis      -      it 


tive       land, 
and         say 
at         dawn, 


Fly  a  - 
Of  the 
I    shall 


^=^ 


:ff=r 


fizz^zi^ 


P 


:!!=S 


K=K- 


=^B=tE 


M=^ 


1/     1^ 


^     ^ 


i 


A 


^3 


^ 


ii^#|      aL_J: 


^ 


■^- 


way 

miss 


to  my  na  •  tive  land, 
rant  is  o  -  ver  me  now, 
thy  vis   -    it  at        eve! 


And  bear      these  lines  to  my 

That    I      nev-er   shall  mount  my 

But         bring  me     a       line  from  my 


la  -  dy  love.  That  I've  traced  with  a  fee  -  ble  hand, 
steed  a  -  gain,  With  hel-met  up  -  on  my  brow; 
la    -     dy    love.      And     then  I  shall  cease   to    grieve! 


She   mar  -  vels  much  at  my 
No  friend  to  my   lat  -  tice    a 
I      can  bear  in     a    dun-geon 


long  de  -  lay,  A      ru     -     mor  of 

sol      -      ace  brings.        Ex  -  cept       when  your 
to  waste  away  youth;        I      can  fall    by 


death   she     has      heard, 
voice  is        heard, 

the     con-queror's  sword ; 


Or  she 
When  you 
But    I 


^ f*- 


i3^ 


-^ — •- 


«^ 


'jt-^ 


-^—5-5-  - 


■^^- 


U 


t — ps*, — f^ 


-=«(ZIif 


::S=^ 


^^ 


z^g=^±i 


"-qv 


^ 


2^ 


,.-}_-. 


thinks,    per  -  haps,       I  false    -    ly  stray ,- 

beat        the     bars    With  your  snow  -  y  wings- 
cannot     en  -  dure    She  should  doubt  my  truth- 


^     f*      ^      :g=g: 


-Then  fly  to  her  bower,  sweet  bird. 
-Then  fly  to  her  bower,  sweet  bird. 
-Then  fly       to  her  tower,  sweet  bird. 


^^ 


?^ 


:^ 


1 


\-srzr 


-M-^ 


4*2=^: 


p-^p-^- 


t^— i^k 


T 


96 


FRANKLIN-SQUARF.    SONG    COLLECTION. 


Many  a  turbulent  outbreak  among  little  folks  has 
been  quelled  by  starting  a  bright,  merry  chorus, 
whose  joyous  rhythm  proves  a  safe  outlet  for  that 
restlessness  which,  rather  than  depravity,  is  the  cause 
of  nine-tenths  of  childhood's  misdemeanors.  Nor 
are  we  children  of  a  larger  growth  less  amenable  to 
the  power  of  united  song  in  bringing  harmony  out 
of  discord,  and  rest  and  refreshment  to  wearied 
body  and  disheartened  soul.  "  When  the  battle  of 
Leuthen  had  been  fought,  and  the  victors,  fatigued 
almost  to  death,  were  sinking  down  in  the  chilling 


rain  among  the  slain  that  lay  scattered  on  the  bloody 
field,  then,  in  the  darkness  of  the  night,  a  single 
voice  broke  forth  with  the  old  choral,  '  Nun  danket 
alle  Gott !'  Soon  a  second  voice  joined,  then  a  third, 
and  so  more  and  more,  until  the  whole  army  took 
up  the  hymn ;  and  thus  the  simple  song — in  which  the 
feeling  of  patriotism  and  military  glory,  united  with 
the  consciousness  of  a  great  deed  accomplished  and  of 
pious  gratitude  toward  the  mighty  Ruler  of  Battles — 
inspired  their  hearts  with  new  life,  and  strength- 
ened them  to  follow  up  the  victory  so  nobly  won." 


I  LOVE  TO  TELL  THE  STORY. 


Kate  Hankey. 
Wm.  G.  Fischer,  by  per. 


1.  I  love  to  tell  the  sto 

2.  I  love  to  tell  the  sto 

3.  I  love  to  tell  the  sto 

4.  I  love  to  tell  the  sto 


ry     Of    un  -  seen  things  a  -  bove.  Of     Je  -  sus  and  his 

ry ;  More  won- der-ful      it    seems  Than  all     the  gold-en 

ry ;  'Tis  pleas  -  ant  to       re  -  peat  What  seems  each  time  I 

ry;  For  those  who  know  it     best.  Seem  hun  -  ger-ing  and 


glo  -  ry, 
fan  -  cies 
tell      it, 


Of  Je  -  sus  and  his 
Of  all  our  gold -en 
More  won  -  der  -  ful  -  ly 


^ 


thirst-ing       To     hear       it     like  the 


love ;  I      love 

dreams.  I      love 

sweet.  I      love 

rest.  And  when, 


to    tell     the  sto  -  ry.  Be  - 

to    tell     the  sto  -  ry.  It 

to    tell     the  sto  -  ry.  For 

in  scenes  of  glo  -  ry,  I 


^E^rtX=t 


B: 


^ 


SEE 


a 


£! 


:N=^: 


:p: 


cause    I  know 'tis  true;  It      .sat 

did      .so  much  for  me !  And  that 

some  have  nev-er  heard  The  mes 

sing    the  new,  new  song,  'Twill  be— 


is  -  fies  my  long-ings 
is  just  the    rea  -  son 
■  sage  of  sal  -  va  -  tion 
-the  old,  old     sto  -  ry 


g±:r-r-rTr 


As   noth-ingelse    can   do. 
I      tell       it  now     to   thee. 
From  God's  own  ho  -  ly  word. 
That    I     have  loved  so   long. 


fefc^ 


-m — w- 


i5 


t^-- 


^i±Pr-^P=:P= 


■izs: 


^— ^=|»ZTz^: 


-^zVl—^-. 


r 


v-r 


Chorus. 


^ 


3i?=W 


:^— ^      ^-  F^ — ^: 


:i=±i 


I       love        to     tell       the      sto    -    ry,      'Twill       be 


my  theme    in       glo   -    ry, 


S^g=g---i=£ 


g:=gr=g-i-e— e 


^ 


y—im. 


r 


T 


^ 


i==$ 


-«l     ^  J: 


:S 


Of       Je   -    sus     .  and 


^ 


To       tell       the      old,       old       sto 


T. 


fe^^=^P=P=P^ 


* 


love 

T 


FRANKLIN-SQUARE   SONG    COLLECTION. 


n 


WHERE  ARE  THE  FRIENDS  OF  MY  YOUTH  ? 


George  Barker. 


?3^^S 


j j^^- 


iiiil 


1.  Where     are     the  friends   of      my  youth  ?     Say,  where  are  those  cherish'd  ones    gone?     And 

2.  Say,         can       I       ev    -    er        a  -  gain,       Such  lies    can      I       ev  -  er       re    -    new  ?        Or 


why     have  they  dropped  wuh  tlie    leaf,         Ah!  why    have  they  left     me     to  mourn?        Their 
feel      those  warm pul  -  ses       a  -  gain,      Which  beat     for    the  dear  ones    I    knew?         The 


-^'  -m-  -m- 


^^- 


-m-\-^- 


i 


-r-r  -r-  ^ 

A 1»- — I 1 — 


?= 


^-^S 


t: 


v-t?- 


^-^ 


±* 


^=»t= 


^=^=S: 


^^^^^ 


voi-ces  still  sound  in  mine  ear,  Their    fea-tures    I      see        in    my     dreams,      And  the 

world  as  a      win-ter    is       cold,  Each  charm  seems  to  van  -  ish     a  -    way,  Mv 


-^--^— 1 


jgr-pp-k: 


"V^V 


U— k-U-c 


P^=P 


-5^=i2 


S±|: 


gli^fag^j^^Bj!: 


^ 


33S 


y  f -  f 


world  is      a     wil  -  der- ness   drear,  As  a   wide-spreading  des-ert,      it      seems.  Ah! 
heart   is   now  blighted  and    old.    It     shares     in     all     Na  -  lure's  de  -    cav.     Ah! 


-^-^^ 


rf-^-iS--p"-i]S--g: 


1»=:i^=^ 


i^— t^- 


^ 


P 


S=fc 


fcl3=>F=i=iJEgl3j^ 


where 
where 

are 
are 

the  friends   of 
the  friends    of 

my  youth, 
my  youth. 

Ah !  where   are   those  cherish'd    ones 
Say,  where    are   those  cherish'd    ones 

gone?    And 
gone  ?   And 

^V-t- 

— »-- 

— ^ — 1 — 

=15 

^-^-r- 

-te \m \m —  5 — P !• 

&^-r- 

:; 

-V 

-^H 1^ 

ii^ 

1 — 

t- 

T^^~^=^=r-^ 

1       1 

^ 

^-=^ 


-K-> 


/ 


ad  lib. 


^  -•-    -m-   -m-    I     -•- 


5^ 


why  have  they  dropped  with  the  leaf,       Ah !      w  hy  have  they    left       me       to    mourn  ? 
why  have  they  dropped  with  the  leaf,       Ah!       why  have  they    left       me      l!0    mourn? 


-^  ^^ 


:^ 


II-G 


r^^ 


qS 


FI^ANKLIX-SQL'AA'E    SOXG    COLLECTION. 


SONG   OF  THE   BROOK. 


Alfred  Tennyson. 
'  Shepherd  Boy,"  by  G.  D.  Wilson, 


:*=1^ 


1.  I     come    from  haunts 

2.  I     steal      by     lawns 

3.  I     wind       a  -  bout, 


r 


rg  ^ 


of  coot  and  hern,  I  make 
and  grass  -  y  plots,  I  slide 
and    in       and     out.    With  here 


sud  -  den  sal 
ha  -  zel  cov 
bios  -  som  sail 


by 
a 


-  ly  And 

-  ers;        I 

-  ing.  And 

H     I  ^ 


:|?=: 


i^-*- 


~l- 


*::SI=8p: 


-^s=M. 


Ei^3= 


=F=i)^=ii: 


spark  -  le  out  ^ 
move  the  sweet  for 
here      and     there        a 


rg  ^ 


^=^^ 


-^-^^ 


^= 


^    -    mong  the    fern,  To       bick-er 

get   -   me  -  nots  That  bloom  for 

lust  -    y      trout.  And     here  and 

I      ./jJ^  :•:    :•-    :^ 


Z- 


:i=^r 


down 
hap  - 
there 

N 


py 


val  - 
lov  - 
grey  - 


=^ 1^=^: 


4^= 


ley.     By 
ers,   "With 
ling.   And 

I       N 


---s=^ 


■at:^ 


:^i 


ff=-=ff: 


'M~W- 


the  rid 
andfal 
I    trav 


ipzzp: 


thir  -  ty  hills 
many  a  curve 
here     and  there 


I         hur  -  ry  down,  Or      slip      be  -  tween 
my     banks    I     fret.    By    many      a    field 
a       foam  -  y    flake.  Up   -  on      me, 


By 

And 
el,'    With 


ge: 
lo« 


e; 


:?^=:p=:p=P=c: 

:t=z=itg=l=::=l;g^ 


:(?=?: 


I" 


^ 


-^  J 


-3ii-:B. 


-b* 1 b^ — L 


^—^ 


a  tempo.- 


.-^==^z 


twen 
many 
many 


ty      thorps,      a        lit    •    tie     town.    And  half       a      hun    -    dred  bridg 

a         fair    -     y       fore  -  land    set      With  wil   ■    low    weed      and  mal 

a  sil  -    v'ry      wa    -    ter  -  break      A  -  bove     the     gold    -    en    grav 


es, 

low 


J    j^  J       hi      ^  r^.J'  I    J"  I       hi 

^=^tj^ r^ ^^ i k*^^^ 


Till 
I 


el ;       And 


:i==i^:^:^=^=i^=P= j==^FJ^==;^=-4^   j    J    j j— -=F 


last       by      Phil  -  ip's     farm      I    flow.      To 
chat  -  ter,     chat  -  ter,      as  I    flow,      To 

draw     them    all        a  -   long,    and  flow.      To 


jom 
join 
join 


the  brim  -  ming  riv 
the  brim  -  ming  riv 
the     brun  -  ming    riv 


^-J 


fizip 


M.':2- 


t2=t=t: 


-ha ^- 


It: 


^    I 


I  '^ 

er,  Jor 

er.  For 

er,  Fo«.- 

I  A 


^ 


V— f- 


FJ^AXAL/X-SQUARE    SOXG    COLLECTION. 


99 


THE  LIFE  LAID  DOWN. 


James  Langran 


*"       I.  Wea-ry    of  earth,  and    la  -  den  with  my  sin,       I      look  to  Heav'n  and  long  to    en  -  ter      in; 
2.    It        is    the  voice  of     Je-susthat    I    hear.     His    are  the  hands  stretched  out  to  draw  me  near, 


^^—m-m- 


w=^ 


H > 


:m- 


•is- 


:^ 


-(•— I «— !«- 


It 


:=g:: 


:g-_!3*_*- 


■-g-  -f^  .-^  -g: 


:^2zr±2: 


it=: 


It: 


i^^^S^^^S^i^ 


But  there  no    e  -     vil  thing  may  find  a  home 
And  His  the  blood  that  can   for   all    a  -  tone 


And  yet    I     hear  a  voice  that  bids  me  "Come." 
And  set  me  faultless  there  before   the   throne. 


m 


^-M^ 


^ 


■^ 


==^ 


f^m 


-HO— ]»— rp— p-H^— ^-rp^- 

:i — I — f=^  i      I     I  p" 


22z: 


'Twas  He  who  found  me  on  the  deathly  wild, 
And  made  me  heir  of  Heaven,  the  Fathers  child; 
And  day  by  day,  whereby  my  soul  may  live. 
Gives  me  His  grace  of  pardon,  and  will  give. 


Yea,  Thou  will  answer  for  me,  righteous  Lord : 
Thine  all  the  merits,  mine  the  great  reward ; 
Thine  the  sharp  thorns,  and  mine  the  golden  crown., 
Mine  the  life  won,  and  Thine  the  life  laid  down. 


IQP 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  skill  of  the  painter  and  sculptor,  which  comes 
in  aid  of  the  memory  and  imagination,  is,  in  its 
highest  degree,  one  of  the  rarest,  as  it  is  one  of 
the  most  exquisite,  accomplishments  within  our  at- 
tainment. In  its  perfection  it  is  as  seldom  witnessed 
as  in  speech  or  music.  The  plastic  hand  must  be 
moved  by  the  same  ethereal  instinct  as  the  eloquent 
lips  or  the  recording  pen.  The  number  of  those  who 
'can  discern  the  finished  statue  in  the  heart  of  the 
shapeless  block,  and  bid  it  start  into  artistic  life — 


who  are  endowed  with  the  exquisite  gift  of  moulding 
the  rigid  bronze  or  the  Hfeless  marble  into  graceful, 
majestic,  and  expressive  forms — is  not  greater  than 
the  number  of  those  who  are  able  with  equal  majesty, 
grace  and  expressiveness  to  make  the  spiritual  es- 
sence, the  finest  shades  of  thought  and  feeling,  sen- 
sible to  the  mind  through  the  eye  and  the  ear  in  the 
mysterious  embodiment  of  the  written  and  the  spoken 
word.  If  Athens  in  her  palmiest  days  had  but  one 
Pericles,  she  had  also  but  one  Phidias. — Everett. 


OVER  THERE. 


D.  W.  C.  Huntington. 
T.  C.  O'Kane,  by  per. 


S 


^ 


i=it 


w^ 


1.  Oh,  think      of       a    home    o  -  ver  there,  By    the    side       of      the   riv    -    er       of 

2.  Oh,  think      of      the  friends  o  -  ver  there.  Who  be  -  fore       us      the  jour  -  ney   have 

3.  I'll    soon      be       at   home    o  -  ver  there,  For  the    end       of     my  jour  -  ney      I 


i 


SEi: 


:& 


p— h* — y-~s  P~  h  ■  ? 


g 


&Ok 


-»— ^ 


g=fe 


:tz=t2: 


i^ 


i 


:&=fe 


-J^A^ 


n^=M±n 


^m 


:^^ 


:itz=s,tiit 


light, 

trod, 
see; 


Where  the    saints      all       ini-  mor    -   tal       and     fair.  Are 

Of        the    songs     that    they  breathe  on     the      air,  In    their 

Ma   -    ny    dear        to       my  heart      o   -    ver      there.  Are 


W?=¥^ 


^^^ 


-r-f' 


-^- 


-r-- r 


-g-Ttr 


:k-  L  ^     r^^ 


■is- 


o  -   ver  there. 


-^--y^- 


^ 


^^m 


Chorus. 


«=■=■(: 


J=i^ 


^^Efc* 


robed      in      their  gar  -  ments    of      white.  \ 

home       in       the   pal   -  ace       of      God.  |- 

watch  -  ing     and  wait  -  ing      for     me.  J 

o  -  ver  there, 


-^^ 


O   -  ver    there, 


o  -  ver  there. 


■^=^ 


^ 


— 1^- 


i# 


^ 


ist^s 


^t 


^ 


=^=^ 


there,     o  -  ver  there,  Oh,     think     of        a  home      o    -    ver     there,  o  -  ver  there;  O-  ver 


^ 


_g  .  y     ^\  ^_g     ^-:  ^^ 


aa 


t=^ 


-^ — -J^ 


M=^m^m 


^A=^ 


^ 


-K— i>r 


Ui.4^U>M^ 


«=t 


TT 


m=zMi 


there,  o  -  ver  there,  o  -  ver  there,     o  -  ver  there,  Oh,  think      of     a  home     o  -  ver  there. 


2.  J  A 


m 


1^     r~r 


r\r  f    r 


r^:ei  r:- 


^m 


^TfT 


^ — ^ 


FRANKLIN-SQUARE   SONG    COLLECTION. 


roi 


BUT  THE  LORD  IS  MINDFUL  OF  HIS  OWN. 

Andantino. 


Mendelssohn. 
From  "  St.  Paul." 


But   the  Lord     is  mindful  of  his    own,  He    re   -    members  his  chil  -  dren,      But   the 


ritard. 


N^E^^^ 


Lord   is  mindful  of  his    own 


the  Lord  remembers  his     chil- dren,    re  -  mem    -    bers  his 


i 


i 


S^^^-^ 


^^ 


^^^^ 


S*if^PS=^^ 


1^-=^ 


"^^A 


^=* 


F^ 


chil     -     dren,    Bow  down  before  Him,  ye  might  -  y 


nt^ 


i?=ps 


'fg^ 


{:^=P 


for     the  Lord  is        near     us ! 


m 


^A 


I 


I — m^^_4__i^. 


q^=?s: 


^M^^-^ 


1«=5= 


?r"r^ 


US !         yea,  the 


Bow  down  before  Him,  ye  migh  -  ty, 


I 
for     the  Lord  is       near 


^ 


n.^^ 


f^\j^\j- 


=S=qS 


w^^^^^^^^^^ 


Lord      is  mind-ful   of    his     own;  He      re    -    members  his  chil  -    dren; 


Bow  down  be- 


#^-^ 


^^^m^ 


^==* 


-^ 


P 


&E3 


-.p=s-. 


^ 


flt 


^ 


^-^-J-rtzzji 


V-tr 


/ 


^ 


y= 


^ 


^f 


^r-^--^:-^ 


g:^ 


fore  Him,  ye   mighty. 


-w — S- 


^fi^ 


^ 


for  the    Lord 


IS         near 


:^=t^=t^ 


X02 


FRANKLIN-SQUARE   SONG    COLLECTION. 


As  a  nation  we  are  not  yet  a  musical  people  in 
die  sense  in  which  Germany  and  Italy  are  musical, 
but  there  is  a  decided  movement  among  the  people 
which  is  a  sign  of  promise.  The  best  and  most  en- 
couraging indication  is  that  music  is  no  longer  regard- 
ed as  simply  an  accomplishment.  Like  the  Greeks, 
we  are  realizing  the  necessity  of  aesthetic  culture  if 
we  would  have  our  young  men  and  young  women 
developed  into  well-rounded,  harmonious  characters. 
Far  more  than  in  those  older  lands  do  we  need  the 
universal  art,  which,  while  it  crowns  all  others,  may 
yet  precede  all  others.  In  this  new  land  there  are, 
there  can  be,  no  wonders  of  architecture  sacred  with 
age  and  hallowed  memories.  Here  are  no  galleries 
of  sculpture  and  painting.    They  are  the  growth  of 


an  older  civilization,  of  a  repose  and  patience  as  fai 
as  possible  opposed  to  our  restless,  unceasing  activ- 
ity of  brain  and  body.  De  Stael  calls  architecture 
"frozen  music."  As  truly  may  we  call  music  "liv- 
ing, breathing  arciiitecture."  Governed  by  as  perfect 
laws  of  harmony  and  proportion,  it  has,  besides,  a 
principle  of  life  which  even  architecture,  painting,  or 
sculpture  can  not  have.  A  perfect  completed  poem 
that  lacks  no  touch  from  the  master-hand  that  created 
it,  a  wonder  of  harmony  and  melody  so  perfect  in 
form  and  beauty  that  a  note  added  or  withdrawn 
would  mar  its  loveliness,  may  live  anew,  be  anew 
created  by  the  genius  of  the  interpreter.  It  is  infi- 
nite in  its  meaning,  infinite  in  its  suggestions,  infinite 
in  its  glimpses  of  heavenly  truth  and  beauty. —  Gray, 


IF  THOU  WERT  BY  MY  SIDE. 


Moderato. 


m^E^^^p^^M. 


S.  Nelson. 
Reginald  Hbber. 


^i=±^ 


1.  If      thou     wert  by      my     side,     my  love,  How     fast    would  eve  -  ning       fail, 

2.  I       miss      thecal       the    dawn  -  ing  gray,  "When,   on        our    deck     re   -  clined, 

3.  I      spread    my  books,  my   pen  -   cil    try,    The       lin  -  g'ring  noon    to  cheer; 

4.  Then  on,      then  on    where  du    -   ty  leads,  My     course    be      on  -   ward  still; 


In 

But 

O'er 


r^i^ 


S^ 


m 


-^'   :ei-m. 


^;b  2 


m 


1^— ^ 


]2^ 


:U=t2: 


=^=^ 


^r- 

-h — 

^t=^ 

-^ 

•  • 

=i^ 

FJ^jt-af: 

i^F 

-^ — ^- 

g 

C£ 

b 
(9^ — 1 

reen       ] 
ire    - 
iss         1 
road      ] 

l»-v i 

3en  -  gal  - 
ess    ease 
hy     kind 
lin  -  dos 

1 

II        • 

a's 
my 
ap  - 
tan's 

palm 
limbs 
prov 
sul    - 

-   y  grove, 
I     lay, 
ing  eye, 
try  meads 

List  - 
And 
Thy 
,  O'er 

'ning       the    night  -  i 
woo       the    cool  -  « 
meek       at  -  ten  -    t 
bleak      Al  -  mo  -   1 

~\ 1 1 

9 

n- 
ir 
ive 
■a's 

gale, 
wind, 
ear, 
hill. 

If 

I 

But 
Thy 

I*    . 

^H- 

^- 

#-ti^ 

-V- 

■'^ 

^     >' 

?E 

fed: 

^^ 


thou, 
miss 
when 
towers 


my  love, 
thee,    when 

of  morn 
,  Bom  -  bay, 


wert    by 
by     Gun 
and    eve 

gleam  brigl 


my    side, 
ga's  stream 
the      star 
htjthey  say. 


My     ba   - 

My     twi  - 

Be  -  holds 

A     cross 


bies   at  my 

light  steps  I 

me     on  my 

the    dark  blue 


knee.  How 

guide ;  But 

knee,  I 

sea ;  But 


I 


^^. 


C=|^«^=g^ 


sc* 


J 


^tfc 


^f=^-- 


■3t=^ 


f 


^^^^^^^ 


3^ 


gai 
most 
feel, 
ne'er 


ly  would 

be  -  neath 

though  thou 

were  hearts 


feHHs-j^ 


i 


our  pm 
the  lamp- 
art  dis 
so  light 

1^  ^. 


■    nace  glide   O'er       Gun   -  ga's    mi    ■ 

s    pale   beam,     I  miss  thee  from 

-    tant     far,     Thy  pray'rs  as  -  cend 

and    gay       As  soon  shall  meet 


my 
for 


sea. 
side! 
me. 
thee. 


i 


^ 


rT=u^^=5 


FRANKLIN-SQUARE   SONG    COLLECTION. 


103 


THE  BRAVE  OLD  OAK 


X.  J.  LODBR. 

H.  F.( 


,  Chorlky. 


E 


aj=«ilTZi^3^.Z^^Z«|: 


'?^. 


^P^ 


3=ite;y 


f^*==^«=tf=*^*^i^-^rJd: 


Maestoso. 

1.  A      song   for     the  oak,    the  brave  old  oak,  Who  hath  ruled  in  the  greenwood  long,  Here's 

2.  He  saw  the  rare     times,  when  the  Christmas  chimes  Were  a  mer    -    ry  sound  to  hear,  And  the 


^ 


ft— ft-! ^M»- 


-zl d — -d *• 


3fcS: 


sE^^^J^W^ 


l>      J       J  .  ^t:J 


fif  -  ty  arms   so   strong, 
of  Christmas  cheer. 


health 
squire' 


and      re-nown       to    his     broad  green  crown.  And 
s    wide        hall,      and  the     cot  -   tage  small,   Were 


his 
full] 


P 


=P=F 


r^^- 


:g-  -r  r- 


ipz-jip: 


^ 


??=r: 


P 


>i:^=*=K 


^^a 


DKzz^: 


1 1?-- 1^ 


V^ 


^^^^^i^ 


-gL  V  ^   ^  ^    ■^..  1^ 


g 


There  is      fear      in    his  frown  when  the  sun  goes  down,  And  the  fire  in  the  west  fades  out ;    And  he 
And  all  the  day    to  the     re  -  beck  gay.  They  carol'd  with  gladsome  swains.  They  are 


:W=^ 


i 


.0..^..^     -^ 


^=u=w 


-I* — I*- 


w-r-f- 


p^r: 


^^ 


*zz^ 


W    w — -•- 


:W=S= 


v-k- 


-rtr 


1/  k 


i 


w 


=S=f5 


:i!-t: 


:^ii=1^ 


rf 


^ii!=it 


:i=J: 


^ 


^    -J-  f 


=3^  ■?  ^ 


u  ^  I 


show  -  eth  his  might  on  a  wild  midnight,  When  the  storms  through  his  branches  shout.  Then 
gone,  they  are  dead,  in  the  church-yard  laid,  But  the  brave  tree,  he  still  re  -  mains.  Then 
I 


^E^^^k^ 


^t^ 


w 


p 


t 


:*=: 


iz=^ 


fc^ 


sing      to     the  oak,    the     brave    old   oak,  Who  hath  stood  in    his  pride    so       long;        And 


^ 


5S1: 


y^Mtj^j^iag 


still      flour  -  ish    he,         a        hale       green  tree,  When     a      hun  -  dred  years     are        gon( 

■^    r- , ^^^_:s-_s-— J— « ^ 


-:^-^4?i- 


SzTzg: 


m 


P 


k  '  te  ^: 


¥ 


v-^ 


X04 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Training. — The  feeblest  attempt  in  the  smallest, 
most  obscure  Western  village  to  advance  true  art  has 
weight  and  influence,  and  is  not  lost  though  it  seems 
too  insignificant  to  be  noted.  If  all  were  generals, 
we  should  have  no  army.  The  smallest  drummer- 
boy  at  the  farthest  outpost  of  our  civilization  is  an 
essential  part  of  the  whole,  helping  and  advancing 
the  good  cause  by  his  earnestness  and  fidelity,  in- 
spiring some  faint,  feeble  heart  to  one  more  effort, 
passing  on  the  good  word  of  obedience,  in  the  faith 
that  ten  times  one  is  ten,  till  the  tens  are  hundreds, 
the  hundreds  thousands,  the  thousands  a  multitude 


that  no  man  can  number.  If  even  a  feeble  eftbrt  is 
of  value,  how  much  more  valuable  is  a  well-directed, 
intelligent  effort  of  one  who  has  been  systematically 
trained,  who  sees  the  end  from  the  beginning,  and, 
sure  of  his  ground,  strengthened  by  sympathy  and 
that  sense  of  communion  which  is  the  very  life  of 
the  soul,  works  intelligently  for  a  definite  end !  For 
this  a  thorough,  careful  training  is  needed — a  train- 
ing which,  in  its  elementary  condition,  should  pre 
cede  any  question  of  talent  or  special  ability.  We 
do  not  ask  children  if  they  have  a  predilection  for 
the  alphabet  or  the  multiplication  table ;  it  is  their 


COLUMBIA,  GOD  PRESERVE  THEE  FREE ! 


Joseph  Havdn. 


1.  Ark       of    Freedom!  Glo-ry's     dwelling!  Columbia,  God  pre-serve   thee     free!  When    the 

2.  Land    of    high,  he  -  ro  -  ic       glo  -  ry :  Land  whose  touch  bids  slav'ry        flee:     Land  whose 

3.  Vain-  ly 'gainst  thine  arm  con  -  tend- ing,  Ty- rants  know  thy  might,  and      flee.     Free  -  dom's 


storms  are  round  thee  swelling.  Let   thy  heart  be  strong  in       thee,       God   is      with  thee,  wrong  re- 
name  is   writ    in      sto  -  ry.  Rock  and   ref-uge    of    the       free:       Ours  thy    greatness — ours  thy 
cause  on  earth  de  -  fend-ing,  Man  has    set   his  hope  on       thee;      Widening  glo  -  ry — peace  un  - 


pell-ing:  He    a-  lone    thy  champion  be. 
glo  -  ry;  We  will  e'er      be  true   to      thee, 
end-ing — Thy  re-ward    and  por-tion     be. 


Ark  of  Free-dom !  Glo-ry's  dwelling  !  Columbia, 


m 


^=i^^^:i^tr   irg^-F-f'-^ 


J?3i|t 


ep 


Ood   preserve  thee  free !  Ark  of    Freedom  I  Glory's  dwelling !  Columbia,  God  preserve  thee  free ! 


^^agJ:^-^=SI 


^r^ 


right;  they  are  to  have  it  whether  they  specially  de- 
sire it  or  not.  All  will  not  become  Newtons  or 
Shakespeares;  but  without  the  preliminary  training 
they  have  no  possibility  of  appreciating  either  the 
one  or  the  other.  The  receivers  must  outnumber 
givers  in  any  one  direction;  there  must  be  audience 
as  well  as  orator.  The  better  trained  the  audience, 
the  better  oratory  will  they  demand  and  receive. 
As  simple,  as  unquestioning,  should  be  the  first  part 
of  a  child's  musical  education,  till,  unconsciously, 
the  page  of  music  is  as  expressive  and  intelligible  to 


him  as  a  page  of  printing,  remembering  always  that 
to  vocalize  a  scale  is  much  easier  than  to  learn  the 
different  sounds  in  the  alphabet,  a  far  simpler  task 
to  master  in  childhood  than  in  maturer  years.  Vocal 
music,  which  at  first  is  largely  imitative,  is  the  easi- 
est method  for  very  young  children,  who,  experience 
proves,  will  learn  good  music  much  more  readily  than 
bad,  and  are  swayed  and  influenced  beyond  compu- 
tation by  the  sentiment  of  the  hymns  and  songs  learned 
at  school  and  sung  in  unison,  or  by  the  sort  of  musical 
atmosphere  in  which  they  find  themselves  at  hom«^ 


FRANKLIN-SQUARE   SONG    COLLECTION. 


105 


^^ 


THE   CHIEF 


Sanderson. 
Sir  Walter  Scott. 


Maestoso. 

I.  Hail  to  the  chief,  who  in 


r  '    ^ 

tri  -  umph  advan-ces,  Honor'd  and  blessed  be  the  ever-green  pine  I 
Ours  is  no  sapling,  chance-sown  by  the  fountain,  Blooming  at  Beltane,  in  winter  to  fade ;  When  the 
Row,  vassals,  row,  for  the  pride  of  the  Highlands !  Stretch  to  your  oars  for  the  evergreen  pine ! 


Long  may  the  tree  in  his    ban  -  ner  that  glances,  Fiour-ish,  the  shel-ter  and  grace  of  our  line, 
whirlwind  has  stripp'd  ev'ry  leaf  on  the  mountain.  The  more  shall  Clan-Alpine  exult  in  her  shade. 
Oh,  that  the  rosebud  that  graces  yon  islands,  Were  wreath'd  in  a  gar-land  around  him  to  twine  I 


V    >»  1       "^    ^^     ^    k    ^    I  I      '       ^"^  '       1^   t^     k      k 

Hail   to  the  chief,  who  in  tri  -  umph  ad-van-ces,  Honor'd  and  bless'd  be  the  ever-green  pine ! 
Ours   is   no  sapling,  chance-sown  by  the  fountain.  Blooming  at  Beltane,  in  winter  to  fade ;  When  the 
Row,  vassals,  row,  for  the  pride  of  the  Highlands !  Stretch  to  your  oars  for  the  evergreen  pine ! 


Long  may  the  tree  in  his    ban-ner  that  glances,  Flour-ish,  the  shel  -  ter  and  grace  of  our  line, 
whirl-wind  has  stripp'd  ev'ry  leaf  on  the  mountain.  The  more  shall  Clan- Alpine  exult  in  her  shade. 
Oh,  that  the  rose-bud  that  graces  yon  islands.  Were  wreath'd  in  a  garland  around  him  to  twine ! 


P&z 


Allegro.^  T    "*'"    l^    ^      l«^    ^  . 

Heav'n  send  it  happy  dew.  Earth  lend  it  sap  anew ;  Gai-ly  to  bourgeon  and  broad-Iy  to  grow ; 
Moor'd  in  the  rift-ed  rock,  Proofto  the  tempest  shock.  Firmer  he  roots  him,  the  ruder  it  blowj 
O  that  some  seedling  gem,Worthy  such  noble  .stem,  Honor'd  and  bless'd  in  their  shadow  might  grow ! 


While  ev'ry  highland  glen.  Sends  our  shout  back  again,  "Roderigh  Vich  Alpine  dhu,ho !  i-e  -  roe !" 
Menteithand  Breadalbane,  then.  Echo  his  praise  again,  "Roderigh  Vich  Alpine  dhu,ho!  i-e -roe!" 
Loud  should  Clan- Alpine  then.  Ring  from  her  deepmost  glen,  "Roderigh  Vich  Alpine  dhu,ho !  ieroe ! 

(Roder-ik  Vik  Alpen  du,  ho!  i-e-ro.) 


^=^^ 


to6 


FRANKLIN-SQUARE    SONG    COLLECT/ON. 


Love  Songs. — This  is  one  and  a  chief  charm  of 
Bums'  love-songs,  that  they  are  certainly  of  all  love- 
songs  except  those  wild  snatches  left  to  us  by  her  who 
flung  herself  from  the  Leucadian  rock  the  most  in 
earnest,  the  tenderest,  the  "  most  moving,  delicate  and 
full  of  life."  Burns  makes  you  feel  the  reality  and 
the  depth,  the  truth  of  his  passion ;  it  is  not  her  eye- 
lashes, or  her  nose,  or  her  dimple,  that  are  "  winging 
the  fervor  of  his  love;"  not  even  her  soul ;  it  is  herself. 
This  concentration  and  earnestness,  this  pet-fervor  of 


our  Scottish  love  poetry,  seems  to  me  to  contrast  curl* 
ously  with  the  light,  trifling  philandering  of  the  Eng- 
lish ;  indeed,  as  far  as  I  remember,  we  have  almost  no 
love-songs  in  English  of  the  same  class  as  those  of 
Burns.  They  are  mostly  of  the  genteel,  or  of  the 
nautical  (some  of  these  capital),  or  of  the  comic  school. 
Do  you  know,  "Oh,  wert  thou  in  the  cauld  blast?" 
the  most  perfect,  the  finest  love-song  in  our  or  in  any 
language ;  the  love  being  affectionate  more  than  pas- 
sionate, love  in  possession  not  in  pursuit.    The  follow- 


THY  NAME  WAS  ONCE  THE  MAGIC  SPELL. 


t 


A.  COWELL. 

Caroline  Norton. 


3 


^=pip 


S^E 


*:!=» 


*^«* 


Moderate. 


Thy 

Long 

Yet 


^^iffte=s^g=tfr-c-FT-c 


name  was  once  the  ma-gic  spell  By  which  my  heart  was  bound.  And 
years,  long  years  have  passed  a  -  way  And  al  -  tered  is  thy  brow,  And 
still       thy  name,  thy  blessed     name.  My  lone  -  ly    bos  -  om     fills,  Like 


f=F^=^^ 


i 


£* 


^ 


ipziip: 


rf 


^^ 


a|z=it 


-&-- 


^^1=^ 


m 


bum 

we 

ech 


l^frpg 


ing  dreams  of       light     and  love,    Were    wa  -  kened  by      that     sound, 
who  met       so       fond-  ly     once,    Must    meet  as      stran-gers     now; 
o     that       hath    lost       it  -  self      A    -     mong  the     dis  -  tant     hills : 


My 

The 
Which 


-m-m- 


M-^ — -r  ^  J. 


P? 


'm=^ 


^— ^ 


heart   beat  quick,  when  stran  -  ger  tongues  With  i 

iriends  of     yore    come  round     me  still.        But     talk        no 

still     with  mel  -  an   -   cho    -     ly  note.      Keeps  faint  -   ly 


ing  is  Mr.  Chambers'  account  of  the  origin  of  this  song : 
Jessy  Lewars  had  a  call  one  morning  from  Burns.  He 
offered,  if  she  would  play  him  any  tune  of  which  she 
was  fond,  and  for  which  she  desired  new  verses,  that 
he  would  do  his  best  to  gratify  her  wish.  She  at 
once  sat  down  at  the  piano,  and  played  over  ^nd 
over  the  air  of  an  old  song  beginning  with  the  words, 
•'The  robin  cam'  to  the  wren's  nest."  .  .  .  Love  never 
faileth;  but  whether  there  be  prophecies,  they  shall 


fail ;  whether  there  be  tongues,  they  shall  cease ; 
whether  there  be  knowledge,  it  shall  vanish  away ;  but 
love  is  of  God,  and  cannot  fail. — Dr.  John  Brown. 
Home  was  always  a  mellow  Saxon  word ;  but 
it  rings  sweeter  than  ever  now-a-days,  thanks  t» 
Payne's  immortal  song.  When  we  are  told  that 
charitable  men  have  erected  an  orphans'  home,  an 
outcasts'  home,  a  sailors'  home,  etc.,  all  this,  indeed, 
wins  the  English  ear  and  warms  the  English  heart. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


107 


More  than  2,000  years  ago,  Plato,  the  propounder 
of  a  system  of  ethics  second  only  to  Christianit}%  said 
of  music :  "  To  look  upon  music  as  a  mere  amusement 
cannot  be  justified.  Music  which  has  no  other  aim  can 
neither  be  considered  of  value  nor  viewed  with  rever- 
ence." And  these  words  are  re-echoed  in  our  day  by 
England's  great  philanthropist  and  statesman,  \V".  E. 
Gladstone,  when  he  said:  "They  who  think  music 
ranks  among  the  trifles  of  existence  are  in  gross  error, 
because  from  the  beginning  of  the  world  down  to  the 


present  time,  it  has  been  one  of  the  most  forcible  in- 
struments both  for  training,  for  arousing,  and  for  gov- 
erning the  mind  and  the  spirit  of  man.  There  was 
a  time  when  letters  and  civilization  had  but  begun  to 
dawn  upon  the  world.  In  that  day  music  was  not 
unknown.  On  the  contrary,  it  was  so  far  from  being 
a  mere  servant  and  handmaid  of  common  and  light 
amusement,  that  the  great  and  noble  art  of  poetry  was 
essentially  wedded  to  that  of  music,  so  that  there  was 
no  poet  who  was  not  a  musician ;  there  was  no  verse 


THE  PEARL  THAT  WORLDLINGS  COVET. 


Edward  J.  Loder. 


^^^^m 


1.  The  pearl    that  worldlings  cov   -  et     Is  not  the     pearl  for 

2.  The  crown  that  decks  the  mon  -  arch  Is  not  the  crown  for 

3.  The  road    that  ma  -  ny     trav  -  el     Is  not  the     road  for 

4.  The  hope   that  sin  -  ners  cher  -  ish    Is  not  the   hope  for 

^  -r-r 


me, —  Its    beau  -  ty    fades  as 

me.  It     daz  -  zles  but     a 

me,  It     leads  to   death  and 

me ,  Most  sure  -  ly    will  they 


i^^gzij^j^ifTf  fjl^^g 


m 


i=& 


S^ 


quick -ly      As      sunshine   on     the        sea;  But   there's 

mo  -  ment.   Its     brightness  soon  will      flee.  But   there's 

sor  -  row.    In      it         I   would  not       be.  But  there's 


a  pearl  sought  by     the   wise,  'Tis 
a  crown  prepared      a  -  bove    For 
a  road    that  leads    to    God,  'Tis 
per    -  ish,    Un  -  less  from    sin  made    free.  But   there's  a  hope  which  rests    in    God,    And 


^     P   ^Jh^ 


r  ;r  r^-r-  -r 


called    the  pearl   of     greatest  price,  Tho'  few 
all       who  walk    in     hum-ble  love.  For  -  ev 
mark'dby  Christ's  most  precious  blood.  The  pas- 
leads     the    soul     to     keep  his  word,  And  sin  ■ 


its    val  -  ue       see, 

er  bright  't  will    be, 

sage  here  is        free, 

•  ful  pleasures      flee, 


Oh !  that's  the  pearl  for 

Oh !  that's  the  crown  for 

Oh!  that's  the  road  for 

Oh!  that's  the  hope  for 


fc=e 


m 


^^^^ 


:m     I*    |g=i:^ 


r*^      ^ 


J    ^     ^=Pi-]^-f-:: 


me, 
me, 
me, 
me. 


Oh!  that's  the  pearl  for 

Oh!  that's  the  crown  for 

Oh!  that's  the  road  for 

Oh!  that's  the  hope  for 


that's  the  pearl  for 

that's  the  crown  for 

that's  the  road     for 

that's  the  hope     for 


me. 
me. 


i£=IZ_C_i^ 


spoken  in  the  early  ages  of  the  world  but  that  music 
was  adopted  as  its  vehicle,  showing  thereby  the  uni- 
versal consciousness  that  in  that  way  the  straighest  and 
most  effectual  road  would  be  found  to  the  heart  and 
affections  of  man."  Even  the  rugged  heart  of  Carlyle 
opened  to  the  divine  influence  of  music,  when  he  wrote, 
"  Music  is  well  said  to  be  the  speech  of  angels;"  and 
again,  "  See  deep  enough  and  you  see  musically ;  the 
keart  of  Nature  being  everywhere  music,  if  you  can 


only  reach  it."  George  Eliot  spoke  truly  that,  "  There 
is  no  feeling,  perhaps,  except  the  extremes  of  fear  and 
grief,  that  does  not  find  relief  in  music — that  does  not 
make  a  man  sing  or  play  the  better."  J.  G.  Holland  saw 
that  music  is  "a  thing  of  the  soul — a  rose-lipped  shell 
that  murmurs  of  the  eternal  sea — a  strange  bird  sing- 
ing the  songs  of  another  shore;"  and  all  the  poets  from 
Chaucer  to  the  lamented  Longfellow,  recognize  the  fact 
that  "  music  is  the  universal  language  of  mankind.' 


io8 


FRANKLIN-SQUARE   SONG    COLLECTION. 


In  the  Schools. — No  one  thing  has  done  more 
for  music  in  the  past  twenty  years  than  its  introduc- 
tion as  an  integral  part  of  our  common  school 
education.  In  the  large  cities  and  suburban  towns 
little  seems  left  to  desire  in  that  direction.  From 
the  time  children  at  the  age  of  five  enter  the  prima- 
ry school  till  at  the  age  of  sixteen  or  eighteen  they 
graduate  from  the  high  or  normal  school,  music  is 
as  much  a  part  of  their  training  as  the  multiplication 
table  and  spelling  book.  The  next  generation  will 
see  what  we  foresee,  and  reap  the  harvest  this  gen- 
eration is  so  wisely  sowing.      If,  as  we  contend, 


music  is  in  itself  purifying  and  elevating,  if  it  can 
displace  and  crowd  out  baser  pleasures  by  giving 
innocent  recreation  and  excitement  to  a  people  that 
must  be  amused,  a  people  who  must  be  busy  for  good 
or  for  evil,  we  can  not  have  too  much  of  it.  It  can 
not  enter  too  largely  or  too  deeply  into  the  system 
of  common-school  education.  In  curious  juxtapo- 
sition in  an  English  paper  a  short  time  since  was  a 
statement  that  Dean  Stanley  had  no  appreciation  of 
music,  and  was  averse  to  its  introduction  into  state 
systems  of  education;  in  another  column  was  a  re- 
port of  one  of  Dean  Stanley's  addresses  on  the  condi- 


i 


STEAL  AWAY. 


^ie^ 


fefe^ 


Slave  Hymn. 


^-- 


v=% 


*J       Slow. 


Steal 


IS 


way,       steal 


way. 


1^^ 


steal        a    -    way         to         Je    -    sus! 


-.l=.l 


m 


Sfc 


-f      f  s 


^^E^ 


P 


5 


:^fe3 


Steal      a  -   way,       steal     a  -    way 


home. 


rr^t 


f 


I've       not       got       long         to         stay     here. 


^^^^^ 


?^?^l 


S 


*; 


/ 


yM 


fefefeE3E# 


m 


? 


1.  My  Lord  calls      me, 

2.  Green     trees      are        bend  -  ing, 

3.  My  Lord  calls      me. 


i. 


He         calls       me        by         the         thun  -  der; 
Poor        sin    -     ners     stand  tremb-ling; 

He         calls        me      by  the        light -ning; 


The 
The 
The 


%- 


i^^^^ 


P   rit. 


D.C. 


trum  -  pet        sounds 


my     soul : 


rr-=t 


I've 


not 


f 


-•" — I 1 ^ — I— t^ — i* — I— 


got      long         to       stay    here. 

r:   -r 


^=^ 


tion  of  the  working  classes,  lamenting  with  an  evident 
surprise  that  while  so  much  had  been  done  within 
the  last  twenty  years  to  lessen  intemperance  among 
the  gentry,  so  little  comparatively  had  been  effected 
among  the  laboring  class.  The  inference  is  natural 
and  not  far-fetched  which  assumes  a  need  among 
that  very  working  class  which  had  remained  un- 
heeded, unsupplied.  The  gentleman  has  his  elegant 
home,  his  intellectual  entertainments ;  an  atmosphere 
of  grace  and  beauty  surrounds  him,  or  is  easily  at- 
tainable; his  craving  for  excitement,  for  a  life  apart 


from  his  labor,  is  gratified  with  scarcely  an  effort  on 
his  part.  The  man  less  fortunately  situated  needs 
recreation  and  stimulus  even  more  than  the  other. 
Warmth,  light,  companionship,  he  must  have.  The 
gin-palace  offers  them,  ruining  body  and  soul,  while 
it  affects  to  comfort  both.  Tear  down  the  rum-shop, 
turn  the  trades-union  into  a  choral  society,  bring 
g<>od  music  with  attractive  surroundings  before  him, 
educate  his  children  to  take  part  in  grand  old  folk- 
songs, glees,  and  madrigals,  and  in  a  generation  a 
strange  revolution  would  be  wrought. — Ellis  Gray. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


lOi) 


GLORY  GILDS  THE  SACRED  PAGE 

:g^^  r^  I  J     I     I    ^1    ,   - — r — T? 


"  Manoah." 

COWPER,    1779. 


=^=:it= 


-^t=i=^ 


rt^=rs=r 


^ 


e^ 


#<  <^ 


1.  A  glo  -  ry    gilds  the      sa    -  cred  page, 

2.  The  hand  that  gave  it       still     sup  -  plies 

3.  Let  ev  -   er  -  last  -  ing   thanks  be  Thine, 

4.  My_  soul     re  -  joi   -  ces      to       pur  -  sue 


-^-O- 


Ma  -  jes  -  tic  like  the 
The  gra  -  cious  light  and 
For  such     a    bright  dis 

The  steps   of    Him     I 


'2^  _ 

sun  ; 
heat; 
play, 
love, 


f-g^- 


T^ 


ig  ^  p-ig 


-^ 


isim 


i 


:=P 


Y^F^- 


:^=5t 


-tS>- 


is* — »— 

It      gives,  but  bor  -  rows 
They  rise,    but   nev  -  er 
With  beams  of   heav  -  enly. 
In      bright  -  er   worlds  a 


It        gives       a    light    to        ev'  -   ry     age; 

Its       truths      up  -  on      the       na  -  tions  rise — 

As       makes     a     world  of      dark  -  ness  shine 


Till 


Jlo 


ry  breaks  up  -    on       my    view. 


m    (Zi 


zz: 


^ 


none, 
set. 
day. 
bove. 


^^= 


^^- 


r- 


9 — IS» » 


HASTEN,  SINNER,  TO  BE  WISE. 


^ 


Ignatius  Pleyel. 
Thomas  Scott,  1776. 


J-U-^U^ 


^=^ 


^=st 


~-w=^ 


w-z^ 


1 .  Has  -  ten,  sin  -   ner,  to 

2.  Has  -  ten  mer  -   cy  to 

3.  Has  -  ten,  sin  -    ner,  to 

4.  Has  -  ten,  sin  -    ner,  to 


be    wise;  Stay  not  for  the 

im  -  plore;  Stay  not  for  the 

re  -  turn;  Stay  not  for  the 

be     blest:  Stay  not  for  the 


mor  -  rows  sun: 

mor  -  row's  sun; 

mor  -  row's  sun; 

mor  -  row's  sun; 


g_.*^  4 


■f^r- 


-(S^ 


-^    4  |#- 


P 


P 


i^ 


iEsM 


^ 


S-^J— * 


J   J   J 


zS^  ^^ 


Wis  -  dom,  if  you  still  des  -  pise, 
Lest  thy  sea  -  son  should  be  o'er. 
Lest  thy  lamp  should  cease  to  burn, 
Lest  per  -  di    -    tion     thee     ar-  rest. 


Har  -  der      is 
Ere     this  even 
Ere     sal  -  va 
Ere     the    mor 


it       to  be 

ing's  stage  be 

tion's  work  is 

row      is  be 


won. 
run. 
done, 
gun. 


^g^ 


1^ 


^ 


VESPER  BELL, 


^m 


t 


w 


S     K 


^     I         I 


i& 


— I — ^ — t^ 


^?z^ 


the   dell, 
fare  -  well, 
er    true, 
set  beam. 


1.  Hark!  the  peal -ing.  Soft  -  ly  steal  -  ing.  Evening     bell.  Sweetly  ech  -  oed  down 

2.  Wei  -  come,  welcome  Is       thy  mu  -  sic,  Sil  -  v'ry  bell!  Sweetly  tell- ing  day's 

3.  Day       is   sleep  -  ing,  Flow'rs  are  weeping  Tears  of  dew;  Stars  are  peeping  ev  - 

4.  Grove  and  mountain,  Field  and  fonntain.  Faint  -  ly  gleam  In     the  rud -dy    sun- 


p— r 


-T*— ^ 


TIO 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Franz  Schubert,  the  great  lyrist,  was  bom  at 
Lichtenthal,  a  suburb  of  Vienna,  in  1 797.  His  father 
was  the  schoolmaster  of  his  native  village,  and  ac- 
cording to  Mr.  Haweis,  had  eighteen  sons  and 
daughters.  Franz  was  the  second  son,  and  shared 
the  family  passion  for  music.  When  he  was  five 
years  old,  his  father  prepared  him  for  elementary  in- 
struction, and  at  six  he  was  sent  to  school,  where  he 
was  always  one  of  the  first  amongst  his  fellow  students. 
The  old  schoolmaster  was  his  son's  first  instructor  in 
music,  as  in  everything  else,  the  teacher  finding  that 
the  pupil "  had  somehow  mastered  the  rudiments  for 
himself."     The   choir-master,  who  was  Schubert's 


next  teacher,  observed  that "  whenever  he  wanted  to 
teach  him  anything,  he  knew  it  already :"  and  Salieri, 
to  whom  he  owed  most  information,  admitted  that 
the  boy  "  was  a  born  genius,  and  could  do  whatever 
he  chose."  Mr.  Haweis,  who  supplies  these  particu- 
lars in  his  book,  "  Music  and  Morals,"  argues  from 
this  early  and  extraordinary  musical  development^ 
similar  to  that  of  Mozart  and  Mendelssohn,  that 
"  nature  seemed  to  feel  that  a  career  so  soon  to  be 
closed  by  untimely  death  must  be  begun  with  the 
tottering  steps  and  the  early  lisp  of  childhood."  But, 
no  doubt,  the  precocity,  with  its  premature  undisci- 
plined independence,  had  its  serious  disadvantages; 


COME  AND   SEE  ME. 


Childhood  Songs. 


*: 


a^3^a^i^^tei^^ 


tSr=lt_>,_K_=H 


*^g^ 


^"^ 


1.  Come  and  see  me.  Ma -ry  Ann,  this  af  -  ter- noon  at  three,     Come  as   ear-ly     as  you  can,  and 

2.  Bring  with  you  your  sis  -  ter  Jane,  my  gar-den  she  must  see.  And  hear  the  mer-ry  birds  a  -  gain,  up- 


stay  till  af- ter  tea,     We'll  jump  the  rope,  we'll  dress  the  doll,  we'll  feed  my  sis-ter's  birds,    And 
on     the  ap  -  pie  tree.    We'll  hunt  the  meadow,  cross  the  brook,  we'll  seek  the  woods  a  -  far.     Where 


^    U*     ^ 

read  my  lit  -  tie    sto  -  ry  book,  so  full   of    ea  -  sy  words,  So  come  and  see  me.  Ma  -  ry  Ann,  this 
in        a    sun-ny    lit  -  tie  nook,  the  blue-eyed  violets   are.      So  come  and  see  me.  Ma- ry  Ann,  this 


^    ^    ^    ^ 


af-  ter -noon  at  three, 


m 


wttt^ 


Come  as    ear-ly      as    you  can,  and    stay   till    af- ter    tea. 


1r-|p- 


1*-^ 


^^ 


V   V   V- 


^   k   k 


and  it  is  well  known  that  Schubert  before  he  died 
deeply  regretted,  and  was  taking  earnest  steps  to 
remedy,  his  defective  knowledge  of  counterpoint  and 
of  the  higher  branches  of  the  study  of  music.  His 
superficial  practical  acquaintance  with  music  was 
made  so  speedily  that,  at  the  age  of  eleven,  he  was 
not  only  a  good  singer  in  the  choir  of  the  imperial 
chapel,  but  played  well  on  the  piano  and  other  musical 
instruments;  and  before  he  was  fifteen  he  was  so  un- 
exceptionable a  violinist,  that  he  would  take  the  part  of 
"first  violin"  in  the  orchestral  practicings.  In  1816, 
Schubert,  then  nineteen  years  of  age,  wrote  what  was 
to  prove  one  of  his  greatest  successes,  but  which  like 


his  other  successes,  received  only  a  gradual  acknowl- 
edgment. Mr.  Haweis  has  this  interesting  account 
of  the  composition  of  the  now  famous  air  of  the  "  Erl 
King:"  One  afternoon,  Schubert  was  alone  in  the  lit- 
tle room  alloted  to  him  in  his  father's  house,  and  hap- 
pening to  take  up  a  volume  of  Goethe's  poems,  he 
readthe"Erl  King."  The  rushing  sound  of  the  wind, 
and  the  terrors  of  the  enchanted  forest,  were  instant- 
ly changed  for  him  into  realities.  Ever>'  line  of  the 
poem  seemed  to  flow  into  strange  unearthly  music  as 
he  read,  and,  seizing  a  pen, he  dashed  down  the  song 
nearly  as  it  is  now  sung,  in  just  the  time  that  was 
necessary  for  the  mechanical  writing  of  the  music. 


FRANKLJN-SQUARE   SONG    COLLECTION. 


i 


PULL  NSNKX,   BRAVE   BOYS. 

Animato.  •0» 


Rossini. 
'William  Tell. 


Ifc^ 


^Hb 


^^^-jrj^  fc  an   g~=^~]^~!q~M^ 


tf    p 


^*  j>^  #  r *  ^i^ 


g^jTj^  ^  #  ^ 


1.  Pull    a -way,  pull    a -way,  pull    a  -  way,  brave  boys.  Pull  a  -  way,  pull    a  -  way,  our  hearts  are 

2.  Pull    a-way,pull    a-way,pull    a- way,  brave  boys,  Pull  a  -  way,  pull    a  -  way,  to  the  bending 


t^-^-^  r^  in^^ 


^^^^^4r^^ 


-■! — m — m — m- 


f 


:M^^l^ 


^m- 


*W 


-m H 


gay ;  Pull   a  -  way,  pull    a  -  way  thro'  the  dash  -  ing  spray,  On  this    glo 
oar;  Pull   a -way,  pull    a  -  way,  let     us  heed  no  more,  The         mu 


rious  sum  -  mer  day. 
sic      from  the  shore. 


Pull  a  -  way,  pull  a  -  way,  while  with  joy  we're  singing.  And  our  hearts  beat  high  with  glee ;  Pull  a 
Pull  a  -  way,  pull  a  -  way,  while  our  pulse  is  danc  -  ing,  And  our  hearts  are  light  and  free ;  Pull  a 


^      h      ^      > 


-*^^^ 


^     U' 


-^- 


:»: 


A-:.V 


W 


-m—%—^ 


way,  pull     a  -  way,  while  our    songs  are    ring  -  ing.     Gay  -  ly      o'er    the     sound  -  ing     sea. 
way,  pull     a-  way,  thro' the       wa  -  ters  glanc-ing,    Swift    we     go  o'er  the  sound  -  ing     sea. 

-t^ h^- 


m 


O'er  the  sea,    o'er  the  sea,     re-sound-ing,  re-sound-ing,  re-sound-ing.     O'er  the 


N     >>jt^^ 


Et; 


:^=.W=*: 


1^      ^~[g=r^ 


the      sound  -  ing      sea,      the       sea        re  -  sound-ing. 


f^3^^^^ 


^ 


D.S. 


3^ 


r^ 


-? 

re  -  sound-ing,  re  -  sound-ing.        Pull    a 

^     ^    >  ^>  -J*  ^ 


sea,    o'er  the   sea,     re  -  sound-ing. 


-^=^ 


— ^- 


=i=^«t 


the  sound    -  ing        sea,       the    sound  -  ing        sea. 


112 


FRANKLIN-SQUARE   SONG    COLLECTION 


Sense  of  Beauty. — Beauty  is  an  all-pervading 
presence.  It  unfolds  in  the  numberless  flowers  of 
the  spring.  It  waves  in  the  branches  of  the  trees 
and  the  green  blades  of  grass.  It  haunts  the  depths 
of  the  earth  and  the  sea,  and  gleams  out  in  the  hues 
of  the  shell  and  the  precious  stone.  And  not  only 
these  minute  objects,  but  the  ocean,  the  mountains, 
the  cloud,  the  heavens,  the  stars,  the  rising  and  set- 
ting sun, — all  overflow  with  beauty.  The  universe 
is  its  temple;  and  those  men  who  are  alive  to  it  can- 
not lift  their  eyes  without  feeling  themselves  encom- 
passed with  it  on  every  side.  Now,  this  beauty  is  so 
precious,  the  enjoyments  it  gives  are  so  refined  and 
;pure,  so  congenial  with  our  tenderest  and  most  no- 
ble feelings,  and  so  akin  to  worship,  that  it  is  painful 
to  think  of  the  multitude  of  men  as  living  in  the 


midst  of  it,  and  living  almost  blind  to  it  as  if,  in- 
stead of  this  fair  earth  and  glorious  sky,  they  were 
tenants  of  a  dungeon.  An  infinite  joy  is  lost  to  the 
world  by  the  want  of  culture  of  this  spiritual  endow- 
ment. Suppose  that  I  were  to  visit  a  cottage,  and 
see  its  walls  lined  with  the  choicest  pictures  of  Ra- 
phael, and  every  spare  nook  filled  with  statues  of 
the  most  exquisite  workmanship,  and  that  I  were  to 
learn  that  neither  man,  woman,  nor  child  ever  cast 
an  eye  at  these  miracles  of  art,  how  should  I  feel 
their  privation!  how  should  I  want  to  open  their 
eyes  and  to  help  them  to  comprehend  and  feel  the 
loveliness  and  grandeur  which  in  vain  courted  their 
notice!  But  every  husbandman  is  living  in  sight  of 
the  works  of  a  diviner  Artist;  and  how  much  would 
his  existence  be  elevated  could  he  see  the  glory 


LITTLE  BIRD  ON  THE  GREEN  TREE. 


Claribel 


^ 


tt 


m 


s 


fi: 


1^=^ 


m 


1.  Lit  •  tie   bird,  lit  -   tie     bird,     on      the  green  tree,  Lis  -  ten,    and  learn     it,  and 

2.  Lit  -  tie   bird,  lit  -   tie     bird,     on      the   bare    tree,  On  -   ly      the    win  -  try  blast 

3.  Cliequer'd  and  sad    may   our      des  -   ti  -   ny       be,  Sor  -  row    and    sick  -  ness  may 

4.  Part  -  ed    and  si  -  lenced  be  -  neath   the    oak     tree,  Nev  -  er    those   vol  -  ces  shall 


war  -  ble 
sigh  -  eth 
cleave  un 
sing      un 


to  me ;  What     is      he   pleading,    and     what  mur  -  murs  she  ?  Loy  -  al  je 

to  thee.  Where  are   the     voi  -  ces  that     sang    in    their  glee?  Loy-al  je 

to  thee.  What  -  e'er   can  daunt  us  whose   mot  -  to     shall    be,  Loy  -  al  je 

to  thee.  Though  in  each  true  heart  the      mot  -  to      may    be,  "  I    will  be 


l-g-jg-g-^ 


H 


0=^ 


r=r. 


£^-5— &— g 


stringendo. 


w^^^^^^^^^^m 


du  -  rant  ma     vie,       Loy  -  al       je     se    -   rai  du  -  rant    ma      vie. 

thee      ev  -  er     and  aye,       I         will    be  true    to     thee     ev    -  er      and    aye.' 

i^t—m (• :m _    .   1    !         g — la i»-m-^0^. 


--Bzzm. 


^ 


Hbdp-ig-r 


m 


?^^ 


i 


'^    V    ^  "^ 


^    w 


W=^ 


> 


which  shines  forth  in  their  forms,  hues,  proportions, 
and  moral  expression !  I  have  spoken  only  of  the 
■beauty  of  Nature,  but  how  much  of  this  mysterious 
charm  is  found  in  the  elegant  arts,  and  especially  in 
literature !  The  best  books  have  most  beauty.  The 
greatest  truths  are  wronged  if  not  linked  with  beau- 
ty; and  they  win  their  way  most  surely  and  deeply 
into  the  soul  when  arrayed  in  this  their  natural  and 
fit  attire.  Now,  no  man  receives  the  true  culture  of 
a  man  in  whom  the  sensibility  to  the  beautiful  is  not 
•cherished;  and  I  know  of  no  condition  in  life  from 
which  it  should  be  excluded.  Of  all  luxuries,  this 
is  the  cheapest  and  most  at  hand ;  and  seems  to  me 
to  be  the  most  important  to  those  conditions  where 
<oarse  labor  tends  to  give  a  grossness  of  mind. 
Prom  the  diffusion  of  the  sense  of  beauty  in  ancient 


Greece,  and  of  the  taste  for  music  in  modern  Ger- 
many, we  learn  that  the  people  at  large  may  partake 
of  refined  gratifications  which  have  hitherto  been 
thought  necessarily  restricted  to  a  few. — Channing 
I  HAVE  always  preferred  cheerfulness  to  mirth. 
The  latter  I  consider  as  an  act,  the  former  as  a  habit 
of  the  mind.  Mirth  is  short  and  transient,  cheer- 
fulness fixed  and  permanent.  Those  are  often  raised 
into  the  greatest  transports  of  mirth  who  are  subject 
to  the  greatest  depressions  of  melancholy;  on  the 
contrary,  cheerfulness,  though  it  does  not  give  the 
mind  such  an  exquisite  gladness,  prevents  us  from 
falling  into  any  depths  of  sorrow.  Mirth  is  like  a 
flash  of  lightning  that  glitters  for  a  moment;  cheer- 
fulness keeps  up  a  kind  of  daylight  in  the  mind  and 
fills  it  with  steady  and  perpetual  serenity. — Addison. 


FRANRLIN-SQUARE   SONG    COLLECTION. 


113 


Music  of  the  Voice. — I  remember  listening,  in 
the  midst  of  a  crowd,  many  years  ago,  to  the  voice 
of  a  girl, — a  mere  child  of  sixteen  summers, — till  I 
was  bewildered.  She  was  a  pure,  high-hearted,  im- 
passioned creature,  without  the  least  knowledge  of 
the  world  or  her  peculiar  gift ;  but  her  own  thoughts 
had  wrought  upon  her  like  the  hush  of  a  sanctuary, 
and  she  spoke  low,  as  if  with  an  unconscious  awe. 
I  could  never  trifle  in  her  presence.  My  nonsense 
seemed  altogether  out  of  place ;  and  my  practised 
assurance  forsook  me  utterly.  She  is  changed  now. 
She  has  been  admired,  and  has  found  out  her  beauty ; 
and  the  music  of  her  tone  is  gone !  she  will  recover 
it  by-and-by,  when  the  delirium  of  the  world  is  over, 
and  she  begins  to  rely  once  more  upon  her  own 
thoughts  for  company;    but  her  extravagant  spirits 


have  broken  over  the  thrilling  timidity  of  her  child- 
hood, and  the  beautiful  chann  is  unwound. —  Willis. 
"  Lead,  Kindly  Light." — Dr.  John  H.  Newman 
very  early  mastered  music  as  a  science,  and  attained 
such  a  proficiency  on  the  violin  that,  had  he  not  be- 
come a  doctor  of  the  church  he  would  have  been  a 
Paganini.  At  the  age  of  tweJve  he  composed  an 
opera.  He  wrote  in  albums,  improvised  masques 
and  idyls,  and  only  they  who  see  no  poetry  in  "  Lead, 
Kindly  Light"  or  the  "Dream  of  Gerontius,"  will 
deny  that  the  divine  gift  entered  into  his  birthright. 
He  wrote  this  famous  hymn,  now  sung  in  all  our 
churches,  in  1832,  when,  returning  from  his  Mediter- 
ranean trip  in  an  orange  boat,  he  was  becalmed  for 
some  days  in  the  straits  of  Bonifacio,  within  sight  of 
Caprera,  since  known  as  Garibaldi's  island  home. 


HOME'S  NOT  MERELY  FOUR  SQUARE  WALLS. 


Chas.  Swain. 
Air  from  Rossini. 


1.  Home's  not    mere  -  ly         four  square  walls.  Though  with  pic  -  tures    hung    and    gild  ■ 

2.  Home's  not  mere  -  ly         roof     and     room.  Needs    it    some-thing       to       en  -  dear 


/-.•N.—    ■>* 3 f— ■ ^- 1—- 


m 


ed; 
it; 


^ 


£ 


t=t 


:^=«t 


t=9 


Jj^r^gluB 


-g-^g-^ 


^=j 


^^ 


Home     is   where    af    -     fee    -    tion    calls — Filled  with  shrines  the     heart    hath   build  -  ed. 
Home     is   where  the         heart    can  bloom;  Where  there's  some  kind     lip       to      cheer      it. 


■^ f» (• ^ 


^^'=M' 


^ 


^  |-^g-    jS     f' 


3^- 


^^ 


^~^~<fc 


ir^  g 


*  *  ^ 


Home! — go,  watch  the    failh  -  ful    dove.       Sail  -  ing  'neath    the    heaven    a    -  bove 
What     is    home  with     none     to     meet?     None     to       wel  -  come — none    to      greet 


-r—f- 


^ 


m 


^^ 


^ 


■=s 


.grs: 


U-^u: 


^^^ 


9-^-»- 


^3E^ 


-^i ^ — m- 

-W-     -^    -: 


Home     is  where  there's     one      to       love,     Home     is   where  there's  one       to 
Home     is  sweet — and        on  -    ly      sweet — Where  there's  one    we       love      to 


love 
meet 


us. 
us. 


Home    is    where   there's    one      to     love.     Home     is  where  there's  one      to 
Home    is    sweet — and         on  -    ly    sweet— Where  there's  one    we      love,     to 


'^E^E 


love 
meet 


^ 


II-H 


114 


FRANKLIN-SQUARE  SONG  COLLECTION. 


Since  the  Church  has  been  divided  into  many 
branches,  each  has  had  its  sweet  singers,  whose  music 
has  gladdened  all  the  rest.  It  was  Toplady,  a  severe 
Calvinist,  who  gave  us  "  Rock  of  Ages."  Men  differ 
about  the  atonement;  they  almost  call  each  other 
heretics  and  outcasts  in  their  difference  about  it ;  but, 
when  that  hymn  is  sung,  every  heart  rests  upon  the 
one  Redeenler.  It  was  Charles  Wesley,  an  Arminian, 
who  sang  "Jesus,  Lover  of  my  Soul."  Side  by  side 
are  Watts  and  Wesley,  Church  of  England  and  Dis- 


senter. F.  W.  Faber,  a  devout  Catholic,  -a^rote  that 
hymn  which  breathes  the  highest  sjDirit  of  Christian 
submission,  "  I  worship  Thee,  sweet  Will  of  God." 
Madame  Guion,  an  unquestioning  Catholic,  wrote 
"O  Lord,  how  full  of  sweet  content!"  Francis 
Xavier,  one  of  the  founders  of  the  Jesuit  order,  wrote 
"  Thou,  O  my  Jesus !  Thou  didst  me  upon  the  Cross 
embrace."  While  the  Church  of  England  was  con- 
vulsed by  the  greatest  struggle  it  has  known  within 
this  century,  Keble,  closely  attached  to  one  of  the 


HARK!  THE  HERALD  ANGELS  SING. 


MeNDIiLSSOHN. 

Chas.  Wesley,  1793. 


ft: 


i 


zz4_j^,_^_j^_^-±J; 


1.  Hark !  the  her-ald      an -gels   sing,        "Glo-ry    to     the    new-born  King!  Peace  on  earth,  and 

2.  Christ, by  highest  heav'n  a  -  dored;     Christ, the  ev  -  er    -    last-ing  Lord;  Late    in    time    be- 

3.  Hail !  the  heav'n-born  Prince  of  peace !  Hail !  the  Son  of      Righteousness !  Light  and  life     to 

-«-  -^-  -^  ^-  '^-^_     -^-  -#-  ^=2- 


^^mm 


iiiii 


mer  -  cy  mild, 
hold  him  come, 
all     he     brings, 


i^i: 


God  and  sin  -  ners    re  -  con-ciled." 
Offspring  of      the     favored  one. 
Risen  with  healing    in    his  wings. 

-1 — m •'-H*- 


I    J-   I-T-] \ 1 h-1    ^    ^-J       i    i    I 1 \ 


Joy  -  ful,  all  ye  na-tions,  rise, 
Veil'd  in  flesh,  the  Godhead  see;. 
Mild   he  la)'s  his     glo  -  ry      by,. 


-^^ 


-•!—«- 


i^^ 


Join  the  triumph     of  the    skies;       With  th'angel -  ic     host  proclaim,     "Christ  is     born    in 
Hail  th'  incarnate    De  -  i  -  ty :  Pleased,  as  man,  with  men  to  dwell,        Je  -  sus,    our     Im  - 

Born  that  man  no  more  may  die :         Born   to   raise  the    sons  of  earth,       Born  to     give   them: 


S 


&^=f=lt: 


■m.  4=^ 


^m 


jt-  -r-  -r-  m- 


J^A 


■r=im=mz 


f-^er- 


s 


£^ 


:tB=t«=t»: 


:|=: 


:t=t: 


:t=: 


li 


J: 


'^ — ^r—m- 


q=t 


^^ 


— I 1 1 i- 


3B=-"S=24^ 


:J=^ 


lif*: 


l^ESEE^E^ 


:il=aH: 


-9^ — a^ — 25*" 


m: 


Beth-le  -  hem." 
man  -  u  -  el ! 
se  -  cond  birth. 


>    Hark !  the  herald     an  -  gels  sing,      "  Glo  -  ry       to         the  new-born  King !" 


:^=^ 


P^ 


i 


contending  parties,  wrote  the  Evening  Hymn  which 
the  whole  Church  delights  to  sing.  A  Unitarian, 
Sarah  F.  Adams,  gave  us  "  Nearer,  my  God,  to 
Thee."  The  controversies  over  the  orthodoxy  of  that 
hymn  are  as  dry  and  cold  and  dead  as  the  stones 
Jacob  took  for  his  pillow;  and,  meanwhile,  souls 
mount  up  by  it  toward  heaven  as  did  the  angels  on 
the  ladder  Jacob  saw  as  he  journeyed  to  Padan-aram. 
We  walk  here,  as  it  were,  in  the  crypts  of  life  :  at 
times,  from  the  great  cathedral  above  us,  we  can  hear 


the  organ  and  the  chanting  choir;  we  can  see  the 
light  stream  through  the  open  door,  when  some  friend 
goes  out  before  us;  and  shall  we  fear  to  mount  the- 
narrow  staircase  of  the  grave  that  leads  us  out  of  this 
uncertain  twilight  into  eternal  light? — Longfellow. 
Whenever  I  think  of  God,  I  can  only  conceive 
of  him  as  a  Being  infinitely  great  and  infinitely  good. 
This  last  quality  of  the  divine  nature  inspires  me  with 
such  confidence  and  with  such  joy  that  I  could  have 
written  even  a  Miserere  in  tempo  allegro. — IIaydT» 


FRANKLIN-SQUARE   SONG    COLLECTION. 


"5 


FROM  GREENLAND'S  ICY  MOUNTAINS. 


Lowell  Masow. 
Reginald  Hkber,  1823. 


1.  From  Greenland's  i  -  cy    moun-tains,  From  India's  cor  -  al  strand.  Where  Af-ric's  sun  -  ny 

2.  What  though  the  spi-cy    breez  -  es    Blow  soft  o'er  Ceylon's  isle;       Though  ev'-ry  pros-pect 

3.  Shall    we.whose  souls  are  light -ed   With  wis-dom  from  on  high,        Shall  we,  to  men  be - 

4.  Waft,  waft,  ye  winds.  His   sto  -  ry,  And  you,  ye    wa-ters,  roll.  Till,  like    a    sea     of 


^^^^^^^^^ 


^ 


•H ~ 1 \ 


^=-^- 


^Ez^ 


^ 


^ 


3^ 


2:* 


:^ 


:s2 


ri 


-•i — •- 


foun  -  tains  Roll  down  their  gold  -  en  sand, —  From 

pleas  -   es.  And     on  -   ly     man     is  vile;         In 

night  -  ed.  The  lamp    of      life     de  -    ny?         Sal 

glo     -     ry.    It  spreads  from  pole     to  pole;        Till 


ma  -  ny  an  ancient  riv  -    er,  From 

vain   with  lav  -  ish    kind  -  ness  The 

va  -  tion,  oh,      sal  -  v  a  -  tion !  The 

o'er    our  ran-somed  na  -   ture  The 


ma  -  ny     a    palmy    plain,  They  call   us     to    de  -  liv  -   er     Their  land  from  error's  chain, 

gifts  of     God  are       strown;  The    hea-then,  in    his   blind-ness.  Bows  down  to  wood  and  stone, 

joy  -  ful    sound  pro  -  claim.  Till  earth's  re  -  mot  -  est     na  -  tion    Has  learned  Messi-ah's  name. 

Lamb  for  sin  -  ner's     slain.  Re  -  deem-er.  King,  Cre  -  a  -   tor.    In    bliss  re  -  turns  to     reign. 


COME,  THOU  ALMIGHTY  KING 
I 


"  Italian  Hymn." 
C.  Wesley,  1757.  Giardini,  1760. 


1.  Come,  Thou  Almight  -  y    King,      Help  us  Thy    name 

2.  Come,  Thou  In-car  -  nate  Word,    Gird  on  Thy    might 
7,.  Come,  Ho-lv     Com  -  fort  -  er.        Thy  sa  -  cred   wit 

A 


to   sing,      Help   us     to     praise: 

y   sword ;    Our  prayer  at  -  tend ! 

ness  bear        In    this   glad  hour ! 


M^ 


m 


fe^ 


*a 


4*E* 


^gz:*:: 


— ^- — ^  J  '* — -^=^- — ^-y 


Fa-ther  all  glo-  ri-ous,0'erall  vie  -  to  -  ri-ous.  Come,  and  reign  o-ver  us,  An-cient  of  Days! 
Come,  and  Thy  people  bless,  And  give  Thy  word  success ;  Spirit  of  ho  -  li-ness,  On  us  de  -  scend ! 
Thou,  who  almight-  y  art.  Now  rule  in  ev  -  'ry  heart,  And  ne'er  from  us  depart.  Spirit     of    power. 


t— ^ 


^^. 


r- 


n6 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Referring  to  praise-meetings,  a  leading  writer 
says:  "Every  new  phase  of  religious  opinion  or  re- 
ligious life  has  some  reason  why  it  should  exist — em- 
phasizing some  want  of  our  being  which  has  been,  or 
IS  likely  to  be,  neglected.  And,  hence,  it  is  to  be 
studied  and  intelligently  turned  to  account.  If  the 
praise-meeting  owes  its  existence  to  the  fact  that  we 
have  been  slighting  the  element  of  praise  in  our 
religious  gatherings,  or  to  the  fact  that  the  people 
want  to  do  their  own  singing  rather  than  listen  to  the 


performance  of  a  paid  quartet,  by  all  means  let  us 
learn  these  lessons.  We  think  these  are  the  facts 
which  make  Dr.  Tourjee's  innovation  take  so  well 
with  the  religious  people  of  sober  New  England, 
while  the  novelty  of  a  brass  band  draws  in  the  curious 
and  helps  to  crowd  the  house.  Let  us  then  give  our 
churches  all  the  chances  to  sing  they  want,  under  the 
guidance  of  a  competent  and  at  the  same  time  a 
devout  leader,  and  in  combination  with  such  chances 
to  speak  and  pray  as  may  make  the  enthusiasm  de- 


WITH  GLOWING  HEART  I'D  PRAISE  THEE. 


"  Austrian  Hymn," 
Francis  Scott  Key,  1826. 


-0^-  '  -0-      -W-  P  -•'-  • 


^E: 


1.  Lord,  with  glow-ing  heart  I'd     praise  thee  For  the    bliss  thy   love    be  -  stows;     For      the 

2.  Praise,  my   soul,  the   God  that  sought  thee.  Wretched  wand'rer  far     a    -    stray,   Found  thee 

3.  Lord,    this     bo-som's   ar  -  dent   feel  -  ing  Vain  -  ly   would  my   lips     ex  -   press,    Low      be  - 


^^B 


i 


t^-^ 


r^z 


3=: 


*=: 


^ 


t^: 


i:^^^ 


^ 


S^^^^^ 


pard'ning  grace  that  saves  me.  And  the  peace  that  from  it 
lost,  and  kind-ly    brought  thee  From  the  paths  of  death  a    - 
fore  thy  foot-stool  kneeling,  Deign  thy  suppliant's  prayer  to 


jg-T*-  -r  -r 


^ 


jgiJg: 


fEf: 


^ 


flows;  Help,  O     God,  my  weak  en - 
way  :   Praise,  with  love's  devout-est 
bless:     Let  thy  grace, my  soul's  chief 


i 


:^=J= 


3i=J: 


iEEfiS 


-J^:-=W- 


deav-or,  This  dull  soul  to  rap-ture  raise ; 
feel-ing.  Him  who  saw  thy  guilt-born  fear, 
pleasure,  Love's  pure  flame  within  me   raise. 


lliGIlIC 


^ 


^E^E3 


S^^i=iE«5 


s 


Thou  must  light  the  flame,  or  nev  -  er  Can  my 
And,  the  light  of  hope  re  -  veal -ing,  Bade  the 
And,  since  words  can  nev  -  er   meas-ure.  Let    my 


i^^a 


love  be  warmed  to  praise.  Thou  must  hght  the  flame,  or  never  Can  my  love  be  warmed  to  praise, 
blood-stained  Cross  appear,  And,  the  light  of  hope  revealing,  Bade  the  blood-stained  Cross  appear 
life  show  forth  thy  praise,  And,  since  words  can  never  measure.  Let  my    life  show  forth  thy  praise 


SHOW  luriu  iiiy  pictisc,  /\iiu,  buiuc  wuius  uiiu  ucvci  111c 


a 


I 


veloped  by  a  praise-meeting  yield  substantial  results 
m  the  conversion  of  sinners  and  the  strengthening  of 
saints.  There  is  no  doubt  that  singing,  especially 
the  singing  of  a  well-trained  congregation,  is  quite 
as  legitimate  and  possibly  as  effective  a  means  of 
grace  as  praying  or  preaching.  The  voice  of  the 
great  congregation  is  one  of  power.  You  can  sing 
men  into  the  kingdom  as  well  as  pray  them  in.  But 
true  Christian  praise  will  ever  contemplate  religious 
ends.    It  will  never  degenerate  into  mere  recreation," 


"Cheerfulness,"  says  Bishop  Taylor,  "and  a 
festival  spirit  fill  the  soul  full  of  harmony;  it  com- 
poses music  for  churches  and  hearts;  it  makes  and 
publishes  glorifications  of  God ;  it  produces  thankful- 
ness, and  serves  the  end  of  charity ;  and,  when  the  oil 
of  gladness  runs  over,  it  makes  tall  and  bright  emis- 
sions of  light,  and  holy  fires  reaching  up  to  a  cloud 
and  making  joy  round  about.  Since  it  is  so  full  of 
holy  advantage,  whatsoever  can  innocently  minister 
to  this  holy  joy  sets  forward  the  work  of  religion." 


FRANKLIN-SQUARE    SONG    COLLECTION. 


117 


i 


BATTLE-HYMN 

AUe^etto. 


OF  THE  REPUBLIC. 


=b^-^ 


JotiA  Ward  Howh. 


EE 


^m^^^^ 


=^=^ 


*<  #- 


-jtzaL 


1.  Mine     ej'es  have 

2.  I    have  seen  Him 

3.  I    have  read    a 

4.  He  has  sound-ed 

5.  In  the  beau  -  ty 


seen  the   glo   - 

in  the  watch- 

fie    -  ry    gos  - 

forth  the  trum  - 

of  the   lil    - 


ry  of  the  com  -  ing  of  the  Lord;  He  is 
fires  of  a    hun  -  dred  cir- cling  camps;  They  have 

pel,  writ  in  bur  -  nished  rows  of  steel ;  "  As  ye 
pet  that  shall  nev  -  er  call  re  -  treat ;  He  is 
ies,  Christ  was  born       a  -  cross    the    sea,      With   a 


^\ 


.^'  ^  m. 


-m—m. 


^m 


5: 


-n-U-U- 


P 


•9n?-u. 


^ 


■yir-^ 


^ 


^ 


^*=?==*=* 


=*=r-f 


tramp 
build 
deal 
sift    - 
glo    - 


^'    fl 


i 


iS 


-  ling   out  the     vin  -  tage  where    the     grapes     of   wrath     are  stored ;  He  hath 

-  ed    Him  an       al    -    tar      in        the       eve  -  ning  dews      and  damps ;  I  can 
with    my  con -tern  -  ners,    so       with      you      my  grace     shall  deal;  Let  the 

ing     out  the   hearts    of     men      be   -  fore      his    judg  -  ment  seat;  Oh,  be 

ry      in  his     bos  -  om     that     trans  -  fig  -  ures    you       and    me;  As  He 


m-z 


5^ 


tr-^ 


^ 


p^ 


ft=1^ 


^ 


st=^=^ 


J-r-j-J- 


isii: 


:^i=at 


*=jr?^ 


^    ^    ^ 


-  ri-ble  swift  sword.  His  truth  is  marching  on. 

and  flar  -  ing  lamps.  His  day   is  marching  on. 

pent  with  his  heel,  Since  God  is  marching  on." 

•  bi-lant,  my  feet!    Our  God  is  marching  on, 

to  make  men  free,  While  God  is  marching  on. 


loosed  the  fate  -  ful  light-ning  of     His  ter 
read    His  righteous  sen- tence  by   the  dim 
He   -  ro,born    of  worn  -  an,  crush  the   ser 
swift,  my  soul,   to    an  -  swer  Him !  be    ju 
died     to  make  men  ho  -  ly,  let      us    die 


feM: 


^-#- 


■-m-m- 


'^•^••fj-fFFf- 


s^ 


-p-tr 


V    ^ 


Chorus. 


dzz 


1 ^ 


Glo  -  ry!  glo  -  r>'!  Hal  -  le  -  lu  -  jah! 


^ 


^ 


£ 


Glo  -  ry !  glo  -  ry !  Hal  -  le  -  lu 


4 


jah  I 


m^ 


•  I*  •  I* 


f 


:4;£=t2: 


f=T 


\^    W 


i 


^ 


4 — I — t- 


4- 


£ 


^^ 


5 


:izL 


m^. 


Glo  -    ry!   glo  -  ry!  Hal  -  le 


fei 


r=i^ 


lu 


jah  I 


His 


=^ 


truth     is   march -ing       on 


^ 


f 


ii8 


FRANKLIN-SQUARE   SONG    COLLECTION. 


In  an  essay  of  Herbert  Spencer's,  on  the  origin  and 
functions  of  Music,  he  suggests  what  is  now  perhaps 
generally  admitted,  that,  as  speech  is  the  natural  ex- 
pression of  thought,  so  music  is  the  natural  language 
of  emotion.  Certainly,  if  the  words  which  we  speak 
convey  our  ideas,  the  tones  in  which  they  are  uttered 
convey  our  feelings  in  regard  to  them,  and  the  various 
emotions  of  pain  and  pleasure,  of  discontent  or  satisfac- 
tion, of  cordiality  or  aversion,  of  eager  interest  or  utter 
indifference,  are  much  more  apparent  in  the  emphasis, 
cadence  and  intonations  of  the  voice  than  in  the  words 
themselves.  All  these  may  be  called  the  music  of 
speech,  and  just  as  words  multiply  in  order  to  express 


the  new  and  delicate  shades  of  thought  that  increasing 
civilization  and  culture  bring  forth,  so  the  intonations 
of  voice  are  even  more  and  more  delicately  represent- 
ing the  increasingly  complex  emotions  of  which  we 
become  capable.  If,  then,  music  is  itself  the  very 
language  of  emotion,  must  not  the  habit  of  listening 
to  good  music,  which  is  true  to  its  character,  have  a 
double  effect  upon  us,  over  and  above  the  pleasure  it 
creates — first,  to  develop  within  us  and  to  intensify  the 
very  feelings  which  it  is  translating,  and  secondly,  to 
enable  us  the  better  to  convey  to  others  the  feelings 
which  actuate  us,  even  in  the  cadences  and  modula- 
tions of  ordinary  conversation?  To  share  o\xx  thoiighti 


LITTLE   BEN N IE. 


G.    R.    POULTON. 


-m^^^ 


^^ 


1.  Once    we       had  a       fra  -  grant  bios   -  som.  Full       of  sweet  -  ness,   full      of 

2.  Tear  -  ful    -    ly  we    low  -  ly  laid       him,  'Neath  the  grass       that  grew      so 

3.  Years  have  passed,  and   still     we  miss       him.  And      our  hearts      ne'er  throb  with 

4.  Oh,    sweet    Ben    -  nie,  when  we  meet      thee,  In         the  joy     -     ous    realms   a  - 


4e=^c 


fc^_U     U* 


:l^=t^ 


^ 


w  u — ^ -^ ^ p-  -z^ :d — si — •• 


-K—V 


=S=S=^ 


:Si=t^ 


^^ 


But    the     an    -  gels  came  and  plucked  it, 

And  the    form  of  gen -tie     Ben  -  nie 

When  we  think  of    lit  -  tie     Ben  -  nie. 

Glad  -  ly    will  we  haste  to     greet    thee, 


— ^ — ^ — N- 


For  the    beauteous  realms  a    -  bove. 
In   our  home     no  more  was     seen. 
Whom  on  earth  no  more  we'll    see. 
All   our  hearts     a-  flame  with  love. 

q^:^    If?:- 


rfE^^P 


W     I* 


rk      k>    Ip: 


m 


:\^=^ 


1iz=t2: 


Chorus. 


^      ^ 


i^ 


S==ts: 


— I 1^ f 


T 


-« ^+-nmlr- 


^^ 


Jl-js 


^    1^    L^ 


:^==zg-ti=z^z 


ISzzir 


S^iE^ 


Lit  -  tie      Ben  -  nie  was   our    dar  -  ling,  Pride  of 


^ 


^ 


:!«=k= 


t^= 


:k=k: 


all      the  hearts  ai     home  ;  But  the 


nt 


:E^ 


^ 


-^— ^ 


te^^i^^Si 


\st  time.      2(/  time. 


-—I 1 1^ 


:i=;n 


ta: 


i 


breez    -  es,    float  -  ing      light  -  ly,      Came  and     whis  -  pered,  "  Bennie,     come.' 


i 


-r—f-- 


r-r-r-F — Fi — EB 


fc=k; 


^ 


■t-t- 


:i==t: 


u»    ;^    i^ 


with  others  by  the  use  of  well-chosen  words,  is  an  art 
which  is  fully  recognized  and  cultivated ;  but  to  share 
our  emotions  by  any  truthful  and  adequate  expression 
of  them,  is  an  art  which  the  future  has  yet  to  teach  us. 
Indeed,  the  very  effort  is  regarded  by  many  with  some- 
thing like  contempt,  and  he  who  succeeds  best  in  hiding 
his  feelings  is  most  approved.  If  we  are  swayed  by 
anger,  impatience,  jealousy,  envy  or  hatred,  the  less  we 
express  ourselves  the  better.  The  sternest  silence  at 
such  times  is  the  surest  method  of  subduing  the  rebel- 
lious moods.  But  to  restrain  and  conceal  feelings  of 
love,  kindness  and  good-will — to  preserve  an  impassive 


exterior,  when  the  heart  thrills  with  affection  and  glad- 
ness—  this  is  to  crush  out  sj'mpathy,  and  to  silence  the 
best  promptings  of  humanity.  The  language  of  the 
emotions,  whatever  it  may  be,  deserves  the  most  earnest 
and  careful  cultivation,  for  by  means  of  it  is  developed 
that  sympathy  which  is  the  great  bond  of  human  so- 
ciety. Upon  it  we  are  dependent,  both  for  our  direct 
happiness  and  our  permanent  well-being.  This  it  is 
which  leads  men  to  deal  justly  and  kindly  with  each 
other,  which  heightens  every  pleasure  and  softens  every 
pain,  which  gives  rise  to  all  domestic  and  social  hap- 
piness,  and  makes  life's  hardest  passages  endurable 


FRANKLIN-SQUARE  SONG  COLLECTION. 


iig 


KATY   DARLING. 


English  Ballad. 


Con  espyessione, 

1.  Oh!  they  tell  me  thou  art  dead,Ka-ty 

2.  I'm         kneeling   by    thy  grave,  Ka-ty 

3.  'Tis  useless  all  my  weeping,  Ka-ty 


Dar  -  ling,  That  thy  smile   1    may  nev  -  er-more  be- 
Dar  -  ling!  This  world  is     all  a  blank  world  to 

Dar  -  ling!  But   I'll   pray  that  thy    spir-itbe  my 


hold!  Did  they  tell  thee  I  was  false,  Ka  - ty  Dar 
me!  Oh,  could'st  thou  hear  my  wailing,  Ka -ty  Dar 
guide ;  And  that  when  my  life  be  spent,  K  a  -ty     Dar  • 


ling.  Or  my    love  for  thee  had  e'er  grown 
ling.  Or  think,  love,  I    am    sighing   for 
ling.   They  will  lay  me  down  to  rest  by  thy 


cold?  Oh, they  know  not  the  lov  -  ing 
thee.  Oh,  me  -  thinks  the  stars  are  weep  -  ing, 
side.       Oh,    a    huge  great  grief  I'm  bear -ing. 


Of  the  hearts  of  E  -  rin's  sons.  When  a 
By  their  soft  and  lambent  light;  And  thy 
Tho'  I   scarce  can  heavfe  a     sigh ;    And  I'll 


love  like  to  thine, Ka-ty  Dar  -  ling,  Is  the  goal  to  the  race  that  he  runs.  Oh,  hear  me,  sweet 
heart  would  be  melting,  Katy  Darling,  Could'st  thou  see  thy  lone  Dermot  this  night.  Oh,  listen,  sweet 
ever  be  dreaming,  Ka-ty  Dar  -  ling.  Of  thy  love  ev'-ry    day  till    I     die!    Farewell, then, sweet 


Ka-ty,  For  the  wild  flow'rs  greet  me,  Ka-ty  Dar  -  ling.  And  the  love-birds  are  singing  on  each 

Ka  -  ty,  For  the  wild  flow'rs  are  sleeping,  Katy  Darling,  And  the  love-birds  are  nest'Iing  in  each 

Ka  -  ty,  For  the  wild  flow'rs  will  blossom,  Katy  Darling,  And  the  love-birds  will  warble  on  each 

-j»-|»-p|»~'F~|*~l»^' 


tree; — Wilt  thou  never -more  hear  me,  Ka-ty  Dar 
tree  ;  Wilt  thou  never  -  more  hear  me,  Ka  -  ty  Dar 
tree ;      But     in  heav'n  I  shall  meet  thee,  Ka-ty  Dar 


ling?  Be  -  hold, love, I'm  waiting  for  thee, 
ling.  Or  know,  love  I'm  kneeling  by  thee! 
ling,  Forthere,  love,thou'rt  waiting  forme? 


I20 


FRANKLIN-SQUARE   SONG    COLLECTION. 


£±i 


KATHLEEN    MAVOURNEEN 

mf  mf  ^  ^     mf\       ^    ^^ 


F.  W.  N.  Crouch. 


l^^S 


_l^ — g-  — I \^ — i^  -^-^ — «— a( 1 'l— 


V    Andante.  ""     ^ 

1.  Kalh  -leen  Mavourneen,  the  grey  dawn  is  break  -  ing       The  horn     of    the   hun  -  ter         is 

2.  Kath  -  leen  Mavourneen,    a  -  wake  from  thy  slum- bers;    The  blue  mountains  glow  in         the 


U*    U*    t^   I       1.^   t" 

Small  notes  to  he  sung  to  the  ind  verse. 

m.f  s  y  s 


heard       on   the   hill ;  The   lark  from  her  light  wing  the  bright 
sun's        golden   light ;  Ah !  where   is  the  spell  that  once  hung 


J 


dew  is   shak 
on  my  nam 


ing; 
bers?    A  - 


^ 


voumeen,      what ! 


beau  -  ty,       thou 

j^  J.    r^ 


slum       -  b'ring        still!      Or      hast      thou   for  -  got  -  ten        how 

star  of     my     night!     Ma-  vour  -  neen,  Ma  -  vour  -  neen,    my 


--^ 


=t 


s=c= 


-^     ft^    .zgL 


T2- 


:|K=J*= 


m 


mf 


■^—^- 


i 


/ 


f^ 


"/ 


^V-g'^^^^^ 


:1^=^ 


:a^ 


-^ .  "*     -^ 


soon 

sad 


we  must 
tears  are 


sev  -  er?     Oh  I    hast 


falling, 


thou  tor  -  got  -  ten         this       day 
To     think     that  from      E  -  rin         and       thee 


gi 


:p=p: 


^ 


d: 


we     must 
I       must 

f .   ft 


:*=--■!: 


S 


P 


*=tt 


2:3^ 


2i: 


*=h52:^ 


i 


K-Isrpr-P^ 


_-i=*: 


i-^iJ^ 


^^ 


^'' 


t=bg=g=ij: 


^ES 


i=t= 


a=^=^: 


part  ?     It    may 
part !       It     may 


be    for  years,    and   it     may  be     for  -  ev  -  er;     Then     why 
be    for  years,    and   it    may  be     for  -  ev  -  er;     Then     why 

_        I        _  I 


art  thou 
art  thou 


FRANKLIN-SQUARE   SONG    COLLECTION. 

'"^f  ,  semplice.        mf 


tit 


NOW  THANK  WE  ALL  OUR  GOD. 

[NUN  DANKET  ALLE  GOTT.  ] 


Martin  Rinkart,  1644. 
C.  WiNKWORTH,  Tr.  1858.     J.  Craghr. 


^iEEp^ 


1.  Now  thank  we       all     our       God, 

2.  O        may  this     bounteous      God, 

3.  All  praise   and  thanks    to        God, 


With  heart  and 
Through  all  our 
The      Fa    -    ther. 


m 


hands  and 
life  be 
now     be 


^=T=E" 


vol 
near 
giv      - 

J  ^ 


I 

ces. 
us, 
en. 


s 


f 


i 


i 


S=*: 


*l     1- 


j^r 


f 


Who  wondrous  things  hath  done, 
With  ev  -  er  joy  -  ful  hearts. 
The     Son    and     Him     who  reigns, 


'^i^^S^ 


In 
And 
With 

I 

-j — 


whom  His  earth   re 

bless   -  ed  peace  to 

them     in  high  -  est 


joi        -       ces : 
cheer  us, 

Heav      -       en ; 


-.^^ 


i^p=e 


St 


f^ 


:P=: 


i 


^ 


^^^n 


X 


Who      from      our       moth  -  ers' 
And       keep       us  in  His 

The        one         e     -      ter     -     nal 


grace 
God, 


^ 


Hath     blessed  us           on         our  way 

And      guide  us  when     per  -    plexed. 

Whom  earth  and  Heav  -  en  adore; 

-m-  ^  -^     -^ 


With     count  -  less         gifts 
And      free         us  from 

For        thus         it  was, 


of 
all 


^fi^-^z^ 


:»==bJ 


m 


love,  And 

ills,  In 

now.  And 

1  V 


still       is  ours       to     -     day. 

this      world      and      the         next, 
shall     be  ev    -     er     -     more! 


122 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  Best. — As  to  those  whose  leisure,  talent,  or 
determination  makes  further  musical  progress  possi- 
ble or  essential,  the  question  of  greatest  importance 
that  presents  itself  is,  How  and  where  shall  each  in- 
dividual most  judiciously  expend  time  and  money  to 
attain  the  object  in  view?  Primarily  the  need  is  the 
best  instruction  from  the  best  masters.  Poor  teach- 
ing is  dear  at  any  rate.  There  are  two  distinct 
methods  of  obtaining  this  instruction.  With  a  full 
purse  and  some  little  influence — for  these  musical 


kings  are  royal  potentates,  and  must  be  approached 
discreetly  and  diplomatically  even  to  insure  an  audi- 
ence— it  is  a  simple  matter  to  secure  instruction  from 
a  master  of  acknowledged  ability  in  his  special  de- 
partment, at  a  rate  varying  from  three  to  five  dollars 
for  three-quarters  of  an  hour,  or  even  half-an-hour's 
instruction.  This  instruction  is  presumably  of  the 
best,  and  to  it  we  owe  many  of  our  most  accomplished 
musicians  both  in  vocal  and  instrumental  music,  who, 
in  their  turn,  serve  art  by  imparting  to  others.     The 


THE  GOLDEN    SHORE. 


i 


Al-FRED   S.  GaTTY. 


i^^5^  """J^-*  :  tt»  * 


a=x3l 


1.  I     re-mem  -  ber, 

2.  I      re-mem  -  ber, 

3.  For    -    ev   -   er, 


I 
I 

ah! 


re-mem  -  ber, 
re-mem  -  ber, 
for  -  ev  -  er. 


In     years     long  pass'd 
A       sail    -    or  bold 
Those  days     have  flown 


a  -  way, 
to     be, 
a  -  way, 


A 
I 

And 


lit  -  tie  maid  and  I  would  meet  Be  -  side  the  stream 
left  the  lit  -  tie  maid  be-hind,  And  crossed  the  dis  - 
now    no  more  be  -  side     the  stream,  As  children  shall 


to    play;     We  used  to   watch  the 
tant   sea;      But  when  the   ship    came 
we   play;     But  still     I    know  in 


^      ^    .^ 


^^: 


u 


jft—m—m- 


:!?=ft 


£ 


^ 


^ 


g 


*=^ 


3^ 


:t3*: 


^ 


iSit 


* 


:SP 


if=F^ 


count  the  ships  that  glid  -  ed    by     To 
found  the    lit  -  tie  maid  and   I    Would 
lit -tie  maid  and     I  shall  meet  Up- 


sun    go   down  Up -on     the  gold  -  en   tide;  And 

back  a  -  gain.  And  touched  the  gold-en  shore;         I 
fu  -  ture  days,When  life  s  dark  jour-ney's  o'er,         That 


reach 
meet 
on 


the  o  -  cean  wide ;  And  count  the  ships  that  glided  by.  To  reach  the  o  -  cean 
on  earth  no  more ;  I  found  the  lit  -  tie  maid  and  I  Would  meet  on  earth  no 
the  gold-en  shore;  That   lit  -  tie  maid  and    I  shall  meet  Up -on  that  gold  -  en 


wide, 
more, 
shore. 


^ 


g-r-r- 


^Sl^i 


itarii^ 


'ff^ 


benefits  of  this  method,  like  that  of  a  private  tutor, 
need  no  discussion  or  setting  forth;  the  custom  is 
time-honored,  and  will  always,  and  very  properly, 
have  its  advocates  in  general  and  its  special  fitness 
for  individual  cases.  This  training,  however,  is  not 
possible  for  the  masses,  who,  indeed,  were  there  even 
a  state  fund  to  insure  it,  could  not  be  accommodated 
with  individual  lessons  from  first-rate  masters.  The 
alternative  is  class  instruction,  the  principle  upon 
which  all  graded  schools — indeed,  all  schools,  pub- 


lic or  private — are  conducted.  The  advantages  are 
obvious  in  scientific  matters  as  well  as  in  common 
branches;  the  lecture  on  chemistry  or  philosophy, 
the  lesson  in  arithmetic  or  geography,  is  more  profit- 
able as  well  as  more  enjoyaijle  in  a  class  than  deliv- 
ered to  a  single  individual ;  the  evil  crops  out  when 
the  clasH  is  so  large  that  only  general  attention  can  be 
given  the  pupil.  All  the  benefits  and  evils  accruing 
from  class  instruction  in  any  other  branch  are  like- 
ly to  result  from  class  training  in  music. —  Gray. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


123 


EILEEN   ACHORA. 


A 1- 


J.  p.  Knight. 
Words  by  Mrs.  Crawford. 


;*:*=»=«: 


!33t 


With  expression,  but  not  tooslov/. 

1.  Oh,  Ei  -  leen     A-  cho  -   ra!    at      last    we    have  part  -  ed,      I    have  caught  the  last 

2.  Oh,  ^     Ei  -  leen     A  -  cho  -   ra !  hope's  spell  is     now   brok  -  en,      I  whis  -  per  thy 


glance    of  those  beau  -  ti  -  ful     eyes;     The       ship  bounds  a  -  long,     but     I    turn,  brok  -  en- 
nanie      to     the   mur  -  mu.--ing      sea;     My         tears  dim    the   gems     of     thy   last  part-  ing 

P-.  i^  H*. .  ^  ^  .^     r^  J     I     k    .    ^-rf^  -m- 


[5=:  22: 


afcrj?: 


fe^ 


^e^ 


^ 


-^— r- 


^ 


htart  -  ed,      To  gaze       on      the  land  where  my  soul's  treas-ure    lies.      A -round    me     are 
tok    -   en.      My  sighs    wing  their  way    on       the  night-winds   io     thee.     The  days   that     are 


^^ 


f=ffe=i= 


If:* 


I 


-^- 


^ 


m 


f: 


*=1b: 


^ 


rail. 


dash-ing    the   wild  waves  of      o  -  cean,    A  -  round  me     is  beam  -  ing    the  moon's  ten  -  der 
past,  they     re  -  turn     in       my  slum-bers,    When  roaming  by    Ban-na's  sweet  wa  -  ter       of 


light.        That    wak  -  ens        the  thought      of        im  -  pass-ioned        e   -    mo  -  tion 
light,  I       woke   my       wild   harp         to       their  own  chos   -   en      num-bers 

/>^-^        -0^-     ^«.    .^ .    ^-    .^=2.       -m- '  -if^    -m-    -0-  '    -^     .0L    .m. 


Oh, 
Oh, 


^-U^^   r 


t=t: 


-;? — ^ 


^ 


S 


J-S?- 


m-     I .  ^ — h 


P 


F=^ 


2* 


i 


^=^ 


:g=? 


^ 


Ei  -  leen    A  -   cho  -  ra !     Sweet       Ei   -   leen,  good  night ! 


r-=i»=^: 


JLl^ ^-^t 


s 


:5: 


*= 


Good    night!     good     night! 


f^ 


124 


FRANKLIN-SOUARE  SONG   COLLECTION. 


BEAUTIFUL  VENICE. 


J.  p.  Knight. 
J.  E.  Carpentbr. 


W=^     ^     ^■ 


r         M     u  J M  ■■P*h 


-*i    Xk'^-—^^ 


J»=t»= 


Ci      -       •      ty       of     song.       What 
Queen  of      the    earth,     Where 


Moderate. 

1.  Beau 

2.  Beau 


ti  -   ful     Ven    -    ice! 
ti  -   ful     Ven    -    ice  I 


^ 


^-     -gtT^- 


-• — i^-* — ^- 


-r~r- 


7-4- 


^    w    w- 


mem'-  ries  of  old      to  thy      re     -     gions  be-long,      What  sweet        rec-ol-lec  -  tions 
dark      eyes  shine  brightly 'mid  mu     -     sic  and  mirth,  Where  gay  ser-en  -  a  -  dersby 


— i?-v-ti?-F^=t=iiz-tt— k 


;?=t2=i2=iK 


f 


H 


cling        to  my  heart,  As  thy    fast 
light        of  the  star,    Oft         min 


1 V 


fad -ing  shores  from  my  vis  -   ion     de  -  part.'  Oh! 

gle  their  songs  with  the  dul   •   cet    gui  -  tar;        All  that's 


1 1      I    !> — = — £-F 


^3: 


feS^ 


z^zii^: 


^M 


^-V-fr 


^^=j=?4j 


3S 


«t=i^ 


ny-rS  '  ^^ 


po      -      e-sy'shome  is    thy     light       col-onnades.  Where  the  winds  gently  sigh     as     the 
love    -     ly    in   life,    all  that's  death  -  less  in  song,   Fair         It    -    a  -  ly's  isles    to     thy 


:t*t=t: 


sweet  twilight  fades.  I   have  known  many    homes,    but  the  dwell  -  ing     for    me  If 

reg  -   ions  be-long.     I   have  known  many    homes,    but  the  dwell  -  ing     for     me  Is 


beau    -     ti  -  ful  Ven  -  ice,  the     bride       of  the   sea. 


Is      beau   -    ti  -  ful  Ven -ice,  the 


f- — ha— -^ ha — 1^     U    ' — 


\/      >    U 


all. 


FRANKLIN-SQUARE   SONG    COLLECTION. 

a  tempo.  \  y^ 


125 


t-«»: 


bride        of    the   sea !       Beau     -     ti  -  ful  Ven  -  ice,  beau     -     ti  -  ful  Yen  -  ice, 


S3 


i<>  ^  1^ 


^^gij^^^^M 


fe 


Beau      -      ti  -  ful  Ven  -   ice,    the       bride  of    the   sea!         bride      of     the    sea! 


1^2: 


WHEN  YOU  AND  I  WERE  YOUNG. 


-itS^-Tl 


:^= 


Grevillb. 
Geo.  B.  Allen. 


iiiia 


ES^ 


-i=* 


i^i=r 


~m^^m^ 


Allegretto  grazioso. 

1.  I'm  stand-  ing  by  the    win  -  dow     sill.  Where  oft      we  stood    of     yore—  The 

2.  And  yon   -   der  is  the    old     oak  -  tree,  Be  -  neath  whose  spreading  shade,  When 
3-  I        see        the   lit  -   tie    moss-grown  spot,  Be  -  neath      the  yew-liee's  shade.  Where 


^^^^ 


express. 

jas  -   mine  sweet     is      wav  -   ing  still  Its  branch  -  es       near 

our     young  hearts  were  light     and  free,  In  in    -    no  -  cence 

ear     -     ly  friends,  per  -  chance    for  -  got,  In  earth's    em  -  brace 


the    door;  And 

we    played —      And 
are     laid ;  The 


s*>'!«: 


— ¥m  —  -^— — w— 


—  -ha— P • 


1 — 


i^yi^ 


«t=it 


W-^^. 


near      me    creeps       the    wild  -  rose  vine       On  which  our 
o  ver    there         the  mead-ow    gate,       On  which  our 

ear    -     ly     friends       of    hope   and  trust,       Round  whom 


wreaths   were  hung;  Still 

play   -    mates  swung,         Still 

our  be      -     ing   clung.  All 


^ 


B 


-4^ 1 1 1 ~ \m- 


>— ji^-^y 


i 


It 


:r=r^: 


-»^— ^ 


-xq^ 


ar.,-£- 


i 


—H (-_ p 


m 


piu  lento. 
round 
stand    - 
slum 


5t^=«t 


the  porch  its 
ing  m  its 
ber   in       the 

-m—m — m- 


I  ^ 

ten    -    drils  twine,  As   when 

rus    ■     tic    state.  As   when 

lent   dust,  Since  you 


ad  lib. 

we  both 
we  both 
and   I 


5=^ 


^J     m  a  tempo, 
were  young, 
were  young, 
were  young. 


^ 


g: 


1^ 


>^: 


liSE 


i 


126 


FRANKLIN-SQUARE  SONG    COLLECTION. 


Duty  of  Pastors. — We  do  not  think  that  con- 
gregational singing  will  ever  prevail  with  power 
until  pastors  of  churches  appreciate  its  importance 
and  universally  labor  to  secure  it.  If  ministers  re- 
gard singing  as  but  a  decorous  kind  of  amusement, 
pleasantly  relieving  or  separating  the  more  solemn 
acts  of  worship,  it  will  always  be  degraded.  The 
pastor,  in  many  cases,  in  small  rural  churches  may 
be  himself  the  leader.  In  larger  societies,  where  a 
musical  director  is  employed,  the  pastor  should  still 
be  the  animating  centre  of  the  music,  encouraging 
the  people  to  take  part  in  it,  keeping  before  them 


their  duty,  and  their  benefit  in  participating  in  this 
most  delightful  part  of  public  worship.  It  is  a  very 
general  impression  that  the  pastor  is  to  preach  and 
pray,  but  another  man  is  to  sing.  Music  is  farmed 
out,  and  the  unity  of  public  services  is  marred  by  two- 
systems  of  exercises  conducted  by  different  persons, 
and  oftentimes  without  concord  or  sympathy  with 
each  other,  and  sometimes  even  with  such  contrariety 
that  the  organ  and  the  choir  efi'ectually  neutralize  ihe 
pulpit.  While  it  may  not  be  needful  that  the  pastor 
should  perform  the  part  of  a  musical  leader,  yet  it  is 
certain  that  there  will  not  be  a  spirit  of  song,  in  the 


BY  THE  SAD  SEA  WAVES. 


J.  Benedict. 


the  sad    sea  waves, 
2.  From  my  care  last  night 


I     lis-ten  while  they  moan  A 
by   ho-  ly  sleep  beguiled,  In 


la-ment    o'er  graves      of 
the  fair    dream-light        my 


hope  and  pleasure  gone.  I  was  young,  I  was  fair,  I  had  once  not  a  care.  From  the  rising  of  the  morn  to  the 
home  upon  me  smil'd.  Oh,  how  sweet 'mid  the  dew,  Ev'ry  flow'rthat  I  knew,  Breath'd  a  gentle  welcome 

back  to  the 


set-ting  of  the  sun ;  Yet   I      pine  like  a  slave  By    the 
worn  and  weary  child.  I  a  -  Avake  in  my  grave  By  the 


sad  sea  wave.  Come  again,  bright  days  of 
sad  sea  wave,  Come  again,  dear  dream  so 


hope  and  pleasure  gone,    Come  again,  bright 
peace -ful-ly  that  smil'd.  Come  again,  dear  d 


1^ 

days.   Come  a  -   gain, 
ream.  Come  a  -   gain, 


come 
come 


a  -  gain, 
a  -  gain. 


^— f-^1*-^-^ 

-^ 

Z 

^=f?^ 

-^ 

-^- 

—m- 

— 1 

^ 

-r  m 

— \ — ! — 

=S=^ 

^ 

-^- 

-g-i^- 

-rt^- 

-^ 

#- 

T 

w    - 

-    g    k 

-^-h- 

^     - 

whole  congregation,  if  he  is  himself  indifferent  to  it, 
and  the  first  step  toward  congregational  singing  must 
be  in  the  direction  of  the  ministry. — //.  IV.  Beecher. 
Plato  in  his  Republic,  desires  at  least  two  har- 
monies— the  one  warlike,  which  will  sound  the  word 
or  note  which  a  brave  man  utters  in  the  hour  of  dan- 
ger and  stern  resolve,  or  when  his  cause  is  failing  and 
he  is  going  to  wounds  or  death,  or  is  overtaken  by 
some  other  evil,  and  at  every  crisis  meets  fortune  with 
calmness  and  endurance;  and  another,  which  may 
be  used  by  him  in  time^  of  peace   when  there  is  no 


pressure  of  necessity,  expressive  of  entreaty  or  persua- 
sion, of  prayer  to  God  or  instruction  to  man ;  which 
represents  him  when  he  has  accomplished  his  aim, 
not  carried  away  by  success,  but  acting  moderately 
and  wisely,  and  acquiescing  in  the  event :  the  strain 
of  necessity  and  the  strain  of  freedom,  of  the  fortunate- 
and  the  unfortunate,  of  courage  and  temperance; 
adding  in  another  connection, "  We  can  never  become 
truly  musical  until  we  know  the  essential  forms  of 
temperance,  courage,  liberality,  and  magnificence."' 
Surely  we  can  to-day  raise  no  loftier  standard  than  this. 


FRAXKLIN-SQUARE   SONG    COLLECTION. 


127 


If  the  voice  be  not  of  the  best,  it  is  of  small  conse- 
quence. The  full-voiced  sound  will  absorb  all  indi- 
viduality of  voice.  Each  will  be  aggregated  with  all. 
The  little  separate  waves  will  go  to  form  an  entire 
ocean  of  sound,  a  multitudinous  oneness  and  massive 
whole,  without  any  prominent  individualizing.  Es- 
pecially is  this  true  wlien  the  voices  are  under  the 
controlling  and  assimilating  influence  of  a  powerful, 
and  well-played  organ;  and,  in  congregational  sing- 
ing, the  organ  should  have  the  largest  liberty  of  ut- 
terance, the  foundation-stops  being  alone  employed. 
So  then  it  may  be  taken  as  a  fact  that,  in  the  people's 


music  of  the  church,  the  control  and  use  of  the  voice 
require  little  artistic  training,  but  only  so  much  mus- 
ical endowment  as  almost  everybody  naturally  has, 
and  so  much  musical  memory  as  to  remember  such 
simple  melodies  as  form  the  staple  of  tunes  adapted 
to  general  use.  All  the  better,  to  be  sure,  if  prelim^ 
inary  training  has  been  secured,  with  some  knowledge 
of  the  elementary  rules  of  music.  This  were  best 
done  in  early  life,  and  while  at  school;  and  we  hesitate 
not  to  say  that  it  is  a  great  mistake  whenever  in  any 
school,  public  or  private,  instruction  in  music  and 
singing  is  omitted  for  what  is  thought  more  practical. 


ROW,  ROW,  CHEERLY  ROW. 

Steady  Time. 


p.  M.  MULOCH. 

'  Emigrants'  Song.' 


SE 


^^ 


:^ 


:J=^^ 


1.  Pull,  brave  boys,    pull 

2.  On  through  vir    -    gin 

3.  Build   the     hut      and 


f 


on  to  -  geth   -  er.        Row, 

for     -     ests    go    -    ing.       Row, 
clear         the   for   -    est.       Row, 


row,  cheer  -  ly  row, 
row,  cheer  -  ly  row, 
row,       cheer  -  ly      row, 


J^=J=S 


=t 


d 


^ 


^^ 


#n  <^  i=g=f  I  rj  -  J  I  jr 


r 


Hand  to  hand  thro'  wind  and  weath  -  er.  Row,  row,  cheer  -  ly  row.  O'er  the  smooth,  deep 
Where  the  might  -  y  riv  -  er's  flow  -  ing.  Row,  row,  cheer  -  ly  row.  With  the  old  land. 
Help    will  come  when  need  is       sor  -  est.  Row,    row,  cheer  -  ly      row,  Nev  -  er      let     our 


J^^     #-      J. 


-r-  ^—^ 


-im — p ^■ 

^» m !•- 


P 


M^±l 


^^g 


r^- 


j-^ 


^ 


^^ 


t-9      J     9   ^j: 


wa  -  ters  glid  -  ing.  Row,  row,  cheer  -  ly  row,  Or  the  ra  -  pids  dark  di  -  vid  -  ing, 
far  be  -  hind  us.  Row,  row,  cheer  -  ly  row.  Where  the  new  -  land  home  shall  find  us, 
cour  -  age    fail       us.   Row,  row,  cheer  -  ly       row,    Nev  -  er      let       one  friend  be  -  wail    us, 


^ 


-(^ 


-f     -^ 


H 


'p^ 


i 


r   r   r 


^ 


Chorus, 


-^ 


3^ 


iEES 


■jr±: 


^ 


^ 


Row,      row,  cheer  -  ly      row.     Pull,    my    boys,   pull 


f 


2i 


2^ 


:2i: 


to  -  geth  -  er.   Row,    row. 


JEZZ^ 


i^^^^^^^ 


Se 


:2± 


^^ 


cheer -ly      row.    Hand  to    hand  thro' wind  and  weath  -  er.  Row,       row,    cheer  -  ly     row. 

-*-    -<*-    ^^       !      -    jt       I  ^ 


d=: 


E 


:^ 


>— ^ 


128 


FRANKLIN-SQUARE   SONG    COLLECTION. 


The  following  incident  is  taken  from  Dr.  Taylor's 
"Elijah,  the  Prophet:"  About  two  years  after  the 
close  of  the  thirty  years'  war  in  Gemiany,  George 
Neumarck  lived  in  a  poor  street  in  Hamburg,  ob- 
taining a  precarious  living  by  playing  on  a  violoncello. 
After  a  while  he  fell  sick,  and  was  unable  to  go  his 
usual  rounds.  As  this  was  his  only  means  of  sup- 
port, he  was  soon  reduced  to  great  straits  and  was 
compelled  to  part  with  his  instrument  to  a  broker,  who, 
with  characteristic  sharpness,  lent  him  on  it  a  sum 
much  below  its  value  for  two  weeks,  after  which,  if  it 
were  not  redeemed,  it  was  to  be  forfeited.  As  he 
gave  it  up,  he  looked  lovingly  at  it,  and  tearfully 


asked  if  he  might  play  one  more  tune  upon  it.  "  You 
don't  know,"  he  said  "  how  hard  it  is  to  part  with  it. 
For  ten  years  it  has  been  my  companion;  if  I  had 
nothing  else  I  had  it;  and  it  spoke  to  me  and  sang 
back  to  me.  Of  all  the  sad  hearts  that  have  left  your 
door  there  has  been  none  so  sad  as  mine."  Then 
pausing  a  moment  he  seized  the  instrament  and 
commenced  a  tune  so  exquisitely  soft  that  even  the 
pawnbroker  listened  in  spite  of  himself.  A  few  more 
strains,  and  he  sang  to  his  own  melody  two  stanzas 
of  his  own  hymn  :  "  Life  is  weary,  Saviour,  take 
me."  Suddenly  the  key  changed — a  few  bars  and 
the  melody  poured  itself  forth  anew,  and  his  face 


O  YE  TEARS! 


S3 


^-^J=^ 


Franz  Abt. 
Charles  Mackay. 


g 


s 


pEfciiEg 


--=X- 


^ 


:i=5 


<:^i^ 


^t 


-^- 


Andantino. 

1.  O      ye     tears!        O       ye     tears!      that    have    long      re-fused    to      flow,        Ye      are 

2.  O       ye     tears!        O       ye     tears!         I       am    thank  -  ful  that     ye      run;     Though  ye 


^S^gig^ 


-jfii-t-- 


9-^f- 


^A 


ff=te 


;4=g 


:i 


^s^^ 


■|!-K 


i^:: 


:«t^*l= 


^ 


i::^ 


^^ 


r 


^ 


■^- 


-■^ 


-m^ 


wel  -  come  to    my     heart,      Thawing,  thaw  -  ing    as  the   snow ;    The  ice-bound  clod    has 
come  from  cold  and   dark,       Ye     shall  glit    -    ter     in   the    sun ;      The   rain  -  bow  can  -  not 


lizzzl^ 


l?=l^=t^: 


f=t 


'r.  ^  y^- 


yield  -  ed,   And  the   ear  - 
cheer  us.    If      the  show' 


S^^^^iiEsti 


f 


ly  snow-drops  spring,  And  the  heal  -  ing  fountains 
rs  refuse  to      fall.    And  the    eyes  that  can  -  not 


gush,    And    the 
weep.   Are     the 


^^M 


^ 


ITS 


g=S 


wild  -  er  -  ness  shall    sing ; 
sad  -  dest  eyes    of      all ; 


O      ye    tears!    O 
O      ye    tears !    O 


ye    tears  !  O      ye 
ye    tears!  O      ye 


O   ye     tears ! 
O   ye     tears ! 


^^^ 


IKHZ^-r^ 


r— tP --V-* 


^■:^=|K 


=^ 


^     ^ 


^    ^ 


lighted  up  with  a  smile  as  he  sang,  "  Yet  who 
knows  the  cross  is  precious."  Then  laying  down 
the  instrument  he  said,  "As  God  will,  I  am  still," 
and  hurried  from  the  shop.  Going  out  in  the  dark- 
ness, he  stumbled  against  a  stranger  who  seemed  to 
have  been  listening  at  the  door,  and  who  said  to 
him,  "  Could  you  tell  me  where  I  could  obtain  a 
copy  of  that  song?  I  would  willingly  give  a  florin 
for  it."  "  My  good  friend,"  said  Neumarck,  "  I  will 
give  it  to  you  without  the  florin."  The  stranger  was 
a  valet  to  the  Swedish  ambassador,  and  to  him  the 
poet  told  the  story  of  his  trials.    He  in  turn  told  his 


master,  who  being  in  want  of  a  private  secretary 
engaged  Neumarck  at  once;  and  so  his  troubles 
ended.  But  with  his  first  money  he  redeemed  his 
instrument,  and  obtaining  it,  he  called  ou  his  land- 
lady and  his  friends  and  neighbors  to  hear  him  play 
on  it  again.  Soon  the  room  was  filled,  and  he  sang 
to  his  accompaniment  his  own  sweet  hymn. 

Leave  God  to  order  all  thy  ways. 
And  hope  in  Him  whate'er  betide, 

Thou'lt  find  Him  in  the  evil  days 

Thine  all  sufficient  strength  and  guide. 

Who  trusts  in  God's  unchanging  love 
Builds  on  a  rock  that  nought  can  move. 


FRANKLIN-SQUARE  SONG    COLLECTION. 


129 


I  LOVE  THE   MERRY  SUNSHINE. 


J.  W.  Lake. 

Stephen  Glover. 


?*=-^ 


1.  I    love  the  mer-ry, met -ry  sunshine,   It      makes  the  heart  so  gay,         To     hear  the  sweet  birds 

2.  I   love   the  mer-ry,mer-ry  sunshine,  Thro' the  dewy  morning's  show'r,  With  its  ro-sy  smiles  ad  - 


^z-^ 


i 


■^ — *- 


=i* 


fe 


^^^5=—^ 


=j=if 


f 


:^ 


:?^: 


-*--*--*- 


sing-ing     On  their  summer     hoi-  i    -    day.      With  their  wild-wood  notes  of   du    -    ty,      From 
vanc-ing,     Like  a  beau-ty    from  her    bower!  It  charms  the    soul    in      sad  -  ness,    It 


Wr^- 


^ 


5  5  P  P^^u 


:t= 


-^- 


qs=1^ 


3^^^^^^^^^^!^: 


r  -•^ — "1 — -Id — ^ — • — •'-J— J-  -^^ — J   ^  m^-M — ^-  - 


:S=t* 


^g: 


:i:-*»- 


hawthorn  bush  and   tree;      Oh,   the  sunshine  is     all     beau-ty,  Oh,   the  mer-ry,  mer- ry  sun  for 
sets    the   spir  -  it      free;      Oh,   the  sunshine  is     all     gladness.  Oh,   the  mer  -  ry,  mer  -  ly  sun  for 


,     To  hear  the  sweet  bird 


me.      I    love     the  mer-ry,  mer-ry  sunshine.    It  makes  the  heart  so     gay 


^ 


^^^IS^ 


-a — i- 


sing-ing    On   their  summer     hoi   -    i  -  day,      The  mer-ry,  mer-ry  sun,  the  mer  -  ry,  mer  -    ry. 


v-1? 


-p--t^— ^-^r— ^ 


merry,  meiTy  sun  for  me,    The  merry,  nieny  sun,  the  merry  sun.  The  mer  -  ry,  mer-ry  sun  for  me. 

~f^    1!^    \Za    \^    \^    ;         .        n 


11— I 


130 


FRANKLIN-SQUARE   SONG    COLLECTION. 


THE   SCARLET   SARAFAN. 

(DER    ROTHE    SARAFAN,) 


Warlamoff. 
Russian  Folksong. 


?-^^i^^-^r 


cres.        V       k 


:2: 


^E4; 


Why,  my  mother, 
Na  -  he.  Mutter, 


nit 


thou  sew 


Useless  must  thine 
Dei-ne  Alii- he 


^P^^iEig^^^^ 


ef  -  fort    be,  and    all   thy    la  -  bor     vainJ 
ist    ver  -  lo  -  reti,  qualst  dich  nur  da  -  ran. 


*       I*       \j ^       '  Lrf brf 1^ 1^' 


^       ^       t^       1/- 


"Daugh-ter,  cease 
Though  thou  art       so 
Zof;^    -    ter  -  lein,  dehi 
Springst  du    auch     so 

-m — m- 


fol     -     ly,     and 

mer    -   ry,     and 

K'opf  -   chen     ist 

lu     -    stiz,    und 


-w — w=.w-- 


:t2=t2=tc 


iH 


1^    '^ 
1^    1/ 


p^ggi^i 


r±j=i= 


^^ 


-s^*' 


i 


so 
at 


do    not  talk 
seem-est  thus 
noch  ntchtganzge 
singst  im  grii  -  nen 


gay,  Know  that  life's  bright  morning  will  not     al-ways  stay. 

ease,  Song  will  cease     to  cheer  thee,  and  the  dance  to   please. 

scheid,  Wis  -  se    nur,  nichte    e  -  wig  tvahrt  die  Ju-gend  -zeit. 

IVald,  Tanz-lust,ach,      ver  -  ge  -  het,  und  Ge-sangver  -  hallt. 


When  at  length  the      ros  -  es         from  thy  cheeks  do     flee, 
Blei-  chen  erst  die      Wan -gen        dir     in  em-ster     Zeit, 


Thou  wilt  feel  its    pleas -ures 

Filhlst  du,  dass  die     Ju  -  gend 

-m- 


are     but     van  -   i    -    ty,         Thou    wilt  feel  its      pleas  -  ures     are   but  van  -  i    -    ty. 
nichts  als     Ei  -  tel  -  keit,       Filhlst  du,  dass  die     Ju  -  gend  nichts  als  Ei  -  tel  -  keit. 


Wl 


£: 


=& 


*=ry-|-rH*-P-g^ 


f 


-^ 


— ' ^- 

— t^ — ^— 


-^—^ 


-»^— 1»» — S*'— 1»»- 


-^? 


m 


W-^ 


— N — 1^ — '^ 


^=S^^ 


:^r~*r-^ 


"■!==* 


Do    not  smile,  but 


do     l)e  -  lieve  m, 


what    thy    mo-ther        says; 


I.a-  che  nicht,und  glau-be     nur  was        dei  -  ne   Mut-ter       sagt. 


Swift -ly    flies  the 
Schnell  ver-geht  der 


k     k      W*     1^ 


*  Sarafan. — The  dress  of  the  young  Russian  women. 


FNAXA'Li'.y-SQCAA'E   SOXG    COLLECTIOy. 


131 


^ 


mf 


i 


^$=■1: 


-^Vta?c:1^ 


=^ 


:S=--il= 


^^^ 


^ 


*-*^ 


1^1*^ 


bloom  of  youth,    and  beau  -  ty  soon   de    -  cays.  Vet,    my   dear  -  est,    when    I      view   thee, 

Ju-gend  Spur,  Dent  Himmel  sei^sge  -  klagt.         Dochwenn  ich   dick      seh"    und  ho  -  re, 

0L^  -J**       -^ 


■'1    w    W 


^■-^-*— «- 


:?== 


--m—m~m- 


:p=P=qB=jK 


-^r^ 


:^ziU==^3r 


L    L   L 


^  ^  w  ^- 


ir— •■ 


n  *f           k    N    K 

f 

^      k^ 

K     fc- 

rit. 

k_     s 

y  ■*      K    1    _i      1 

1      1      i' 

h    K 

^  h  r 

/          P  J    •^    ^ 

■k    M       ^       ^ 

• 

'        1       K 

'      mi 

rV        m       j       '       1 

1            1       ^ 

'^     m 

*^    ^ 

^ 

V-  /         \    A    ^    Ji 

,. 

-J   ,.    !  ..    ! 

^__    S     ^ 

I     feel  young  a  -  gain ;        Sing  and  dance  then,  but  with  tri- fling  cause  me  no  more  pain. 
Werd''  ich  'tuie-der  jung —     •^'/w^r  und  spring,  dock  nimmersto  -  re    mir  Er  -  in  -  ne  -  rung. 

,  ^    ^ ^ ^r-^^ ^—r-^ r-* — m J*>^— 1-*» m z^-^Am     ■  ^ :i. .-T^, .-^ 

ry3:3   ^   ^  ^^-f- 

-t — ■ — 

\m    \^m»  ^- 

-¥^- — f= W  •^1^ 

1i~5~S~S^ 

.f-.! 

\^                     i 

»    •   »   »- 

1 

^    L    >    L^ 

^^ 

^      U      1^      Lrf 

Id     !•     r     i> 

U      J     —     !  - 

l^-^ 

>    > 

> 

>       ^ 

^     1^ 

1^    ir 

r 

i 


ife 


DAY  OF  WONDER,  DAY  OF  GLADNESS. 


1— ^ — H 1- 


B.  H.  Hall. 


at^ 


^^=^=^ 


:¥=sr 


W       J       ^ 


J    J    i^— ^n-g— g 


:i=±^ 


»=r 


1 .  Day    of   won  -  der,   day     of 

2.  In     the   tri-umph     of     this 

3.  Ev  -  'ry    pec  -  pie,    ev  -   'ry 


m^ 


m 


^ 


r   *   r- 


^=f=b=y 


glad  -  ness,  Hail  thy  ev  -  er  glo  -  rious  light ! 
hour,  Ju  -  bi  -  lant  shall  swell  the  song, 
na  -  tion,  Soon  shall  hear     the    glad  -  some      sound; 


^=t= 


-I — S4 — I — 


rtfe 


J 1- 


^^-jj— ^: 


-i-^- 


J      J      ^—H- 


S — «^ — ^ — m 


Gone  is  sor  -  row,  gone  is 
Un  -  to  Je  -  sus,  hon  -  or, 
Joy  -  ous      tid  -  ings    of       sal 


sad  -  ness,     End  -  ed 


r-y 


the 


pow  -  er.       Bless  -  ing,      vie   -    to 
•  va   -  tion.    Borne   to         earth's  re 


gloom  -  y      night ! 

ry       be  -  long. 

mot  -  est    bound. 


'^S=^ 


*   1'   r   f- 


33^ 


i 


:^ 


Vm^ 


^^ 


:& 

f 


--w=^ 


ijLlb      I       !  J-+*l— J     J     J 


^t=ihir 


^ 


i^=^ 


s 


J— J-l::^ 


List  -  en  to  the 
Scattered  are  the 
Then  shall  rise,    in 


an  -  gel's 
clouds  of 
tones    ex  - 


sto  -  ry,      Cast     a  -  way     all       dark      and      dread : 
er  -  ror,      Sin     and    hell    are     cap    -   tive       led: 
cell  -  ing,    Praise  for    grace  so     free    -    ly         shed ; 


^m=^ 


.L^-J-JlU-J 


%g 


3ii=it 


^N »— »— ^   m  *f 


-m      J      d 


-"1 "— •-^ 


J 


±2: 


Give  to  God  the 
E'en  the  grave  is 
And     the    East  -  er 


±z: 


Fa  -  ther  glo  -  ry  !  "  Christ  is 
free  from  ter  -  ror,  "Christ  is 
hymn  be     swell  -  ing,    "  Christ   is 


ns 
ris 
ris 


en 
en 
en 


from  the  dead ! ' 
from  the  dead ! ' 
from  the    dead  I ' 


:i £_^ag: 


:«=*: 


^ 


132 


FRANKLIN-SQUARE   SONG    COLLECTION. 


An  Old  Singer. — It  is  in  his  translation  of  the 
Gospel  of  St.  John,  completed  A.  D.  735,  that  the  ven- 
erable Bede  appears  to  us  as  the  first  writer  of  English 
vernacular  prose.  The  story  of  the  writing  of  this  first 
prose  book  in  the  English  language,  as  related  by  Cuth- 
bert,  one  of  Bede's  pupils,  is  full  of  pathetic  interest : 
As  the  season  of  Easter  was  drawing  near,  the  zealous 
scholar  and  teacher  began  to  feel  symptoms  of  approach- 
ing death.  But  he  continued  faithfully  the  performance 
of  his  daily  duties,  and  suffered  nothing  to  distract  his 
attention  from  his  accustomed  labor,  or  to  abate  his 
nsual  cheerfulness  and  good  humor  Now  and  then, 
while  in  the  midst  of  his  labors,  with  his  pupils  all 


around  him,  he  would  sing  some  verses  of  an  English 
song — "rude  rhymes  that  told  how  before  the  need- 
fare,  Death's  stern  '  must  go,'  none  can  enough  be- 
think him  what  is  to  be  his  doom  for  good  or  ill.  We 
never  read  without  weeping,"  writes  Cuthbert.  And 
so  the  anxious  days  passed,  and  Ascension  week  drew 
near,  and  both  master  and  pupils  toiled  with  increased 
zeal  to  finish,  if  possible,  the  work  in  hand — the  trans- 
lation of  St.  John's  Gospel.  "  Learn  with  what  speed 
you  may,"  said  the  dying  man;  "  for  I  know  not  how 
long  I  may  last.  I  do  not  want  my  scholars  to  read  a 
lie  or  to  work  to  no  purpose  when  I  am  gone."  The 
last  day  came,  and  his  pupils  stood  around  him.   "Thert 


MARCHING  SONG. 


^ 


K- 


From  the  German. 


f 


-■^ 


rS--i=S^m-^m- 


1.  March  on,  March  on,     our    way       a  -  long, While    gai    -    ly   beats     the   drum,  dum  di  dum! 

2.  March  on,  March  on,     my    comrades  brave,  With     mus  -  kets  flash  -  ing  bright,  dum  di  dum! 

3.  March  on,  March  on,     our  steps     are  light,  Our      hearts  from  fear     are     free,    dum  di  dum! 


^ 


^m^^^^^^m 


With  stead  ■  y  tramp  and  ring  -  ing  song  The  way  will  short  be  -  come,  dum  di  dum! 
The  stars  and  stripes  a  -  bove  us  wave.  And  flaunt  the  morn -ing  light,  dum  di  dum! 
For     free  -  dom's  sa  -  cred   cause     we  fight.  For        law      and   li   -   ber    -   ty,     dum  di   dum! 


-A^ — g-*^  •  1    » 1-  -m P^* 


i^Tf 


Tra  la    la     la    la  dum  I  Tra   la    la     la    la  dum !  La  la    la    la    la     la     la,   dum  di  dum  I 


:g=T= 


g=^=F 


W— i^   I    — I — p>» — m-^f^S-  ■ 


■f=i^^ 


;=-4- 


^-    I  . — h 


=P=^ 


J_J     g;^zt:r^=iP=fcg 


-V 


With  stead  -  y  tramp  and  ring   -  ing  song  The    way       will  short  be  -  come,  dum     di  dum ! 


^^M*— *- 


1i=U= 


m r-^ 


i^^ 


m 


f 


is  still  one  chapter  wanting,"  said  the  scribe,  seeing  the 
master's  increased  w-eakness.  "  It  is  easily  done,"  said 
Bede ;  "  take  thy  pen  and  write  quickly."  They  wrote 
until  eventide  drew  on.  Then  the  scribe  spoke  again : 
"There  is  yet  but  one  sentence  to  be  written,  dear 
master."  "  Write  it  quickly,"  was  the  response  of  the 
dying  man.  "  It  is  finished  now,"  at  length  said  the 
youth.  "Thou  hast  well  said,"  faintly  replied  the 
master, "all  is  finished  now."  The  sorrowing  pupils 
supported  him  tenderly  in  their  arms  while  he  chanted 
the  solemn  "Glory  to  God,"  and  with  the  last  words 
of  the  song  his  breathing  ceased.  Such  is  the  story  of 
the  beginning  of  our  literature.    The  humble  transla- 


tion of  the  Gospel  of  St.  John,  completed  under  cir- 
cumstances of  such  painful  anxiety,  and  amid  the 
gathering  shadows  of  death,  was  the  vanguard,  so  to 
speak,  of  that  long  procession  of  noble  works  which, 
for  a  thousand  years,  has  been  contributing  to  the  devel- 
opment and  glory  of  the  English  nation. — Baldiuin. 
Music  is  too  often  looked  upon  as  nothing  but  a 
mere  passing  enjoyment — something  only  for  the 
moment,  to  be  heard  and  perhaps  little  regarded — as 
simply  a  concord  of  sounds  agreeable  to  the  ear:  but 
true  art  occupies  a  much  higher  sphere  than  this;  and 
to  be  able  to  truly  appreciate  and  enjoy  it,  we  must 
know  something  of  the  laws  by  which  it  is  governed. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


m 


WARREN'S  ADDRESS. 


John  Pierpont. 


ifc=^ 


^-T^-li 


m 


^=^ 


i^^Pr 


p-^T-^- 


-. — « — m——^-   m  ; — 5 — 1 


-J^iP 


Alaestoso.  W  ^ 

1.  Stand!  the  ground's  your  own,  my  braves!  Will  ye  give     it      up       to  slaves?  Will  ye  look  for 

2.  Fear      ye    foes    who   kill     for  hire?      Will  ye    to     your  homes  re  -  tire?  Look  behind  you!— 

3.  In         the  God     of      bat  -  ties  trust !      Die  we  may, — and  die     we  must :  But,  O  where  can 


green  -  er  graves  ?  Hope  ye   mer  -  cy        still  ? 
they're   a  -  fire !     And    be  -  fore   you,      see 
dust       to    dust      Be       consigned  so        well, 


What's  the  mer  -  cy  des  -  pots  feel? 
Who  have  done  it !  From  the  vale 
As       when  heaven  its       dews    shall  shed 


Hear  it  in  that  bat-  tie -peal!  Read  it  on  yon  bristling  steel !  Ask  it — ye  who  will. 
On  they  come !  and  will  ye  quail  ?  Leaden  rain  and  i  -  ron  hail  Let  their  welcome  be ! 
On       the  martyred  patriot's    bed,    And  the  rocks  shall  raise  their  head,  Of  his  deeds  to  tell? 


A   SOLDIER'S   LIFE. 


M.  W.  Balfk, 


1.  A      soldier's  life  has  seen   of  strife,     In    all    its  forms,  so  much,  That  no  gentler  theme  the 

2.  But   yet  the   soldier's  heart  doth  feel, When  comrades  round  him  fall;  And     tho' with  foes  he 


— h— H — =1 1 — ST- 


pld^JE^^^p^ 


world  will  deem,  A   sol-dier's  heart    can       touch.        In   peace  or  war,  in    hall      or  bow'r,  His 
fights  with  steel,  As  friends  he  smiles  on  all.  In   peace  or   war,  in    hall     or  bow'r,  His 


heart  is  still   the  same,     And      on   the  wings  of  fame  will  soar.  The  daring  sol  -  dier's    name, 
heart    is    still   the  same,     And      on   the  wings  of  fame  will  soar.  The  daring  sol  -  dier's    name. 


134 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Music  at  Home, — Do  all  you  can  to  cultivate 
musical  taste  in  your  children;  let  them  hear  as 
much  music  as  possible.  Invite  some  one  who  can 
play  bright  and  easy  music,  and  let  the  children  hear 
it  The  music  should  be  attractive,  melodious  and 
animated — a  few  songs,  some  easy  galops  or  marches, 
and  perhaps  a  quiet  little  piece  or  two.  Make  them 
understand  that  they  must  listen  to  music  in  silence. 
They  are  not  allowed  to  talk  while  others  are  speak- 
ing, and  they  must  give  the  same  attention  when 
any  one  plays  or  sings.  By  this  means  they  will 
learn  to  think  more  of  music,  and  to  appreciate  it 


more  highly.  There  is  nothing  to  prevent  children 
from  taking  up  music  as  naturally  as  reading  and 
writing.  The  notes  and  the  alphabet  should  be 
learned  at  the  same  time.  At  five  and  six,  children 
learn  to  sing  naturally  and  easily,  and  little  songs 
and  exercises  should  be  mingled  with  the  lessons 
of  the  primary  reading  and  spelling  book.  Experi- 
ence teaches  that  nearly  all  children  who  can  speak 
may  be  taught  to  read  vocal  music  and  to  sing. 
Some  knowledge  of  music  should  form  a  part  of 
every  child's  education.  At  the  same  time,  it  is 
evident  that  it  is  often   useless  to   carry  a   child 


DOUGLAS,  TENDER  AND  TRUE. 


d.  m.  muloch. 
Lady  Jane  Scott. 


1.  Could  ye  come  back  to  me,  Douglas!  Douglas!     In   the  old   like-  ness     that       I  knew,  T 

2.  Nev  -  er     a    scorn    -    ful  word  should  grieve  ye;  I'd  smile  as  sweet  as  the  an  -   gels  do, — 

3.  Oh,      to   call  back    the  days  that  are  not!  Mine  eyes  were  blinded,  your  words  were  few:  Do  you 


would  be  so  faithful,  so       lov  -  ing,  Douglas!  Doug -las!  Douglas!  ten  -  der  and  true. 

Sweet  as  your  smile   on       me    shone  ev  -  er,     Doug  -  las !  Douglas !  ten  -  der  and  true, 

know       the    truth   now      up       in    Heaven,    Doug -las!  Douglas!  ten  -  der  and  true? 

-m- 


-^-- 


Mzzm. 


i^E 


^g^-pi:^:i^=J 


4.  I    was  not  half  worthy      of      you,  Douglas,       Not  half  worthy  the      like     of  you ;  Now 

5.  Stretch  out  your  hand  to  me,  Douglas!  Douglas!    Drop  forgiveness  from  heaven  like  dew.  As  I 


allmen  be  -  side    are  to      me     like  shadows,    Douglas !  Doug  las !  ten  -  der  and  true, 
lay        my  heart    on  your  dead  heart,  Douglas !  Douglas !  Doug-las !  ten  •  der  and  true. 


^ 


i^^: 


:t2=tc 


P=:|»=f»=i: 


4===t2=t 


k^      1^      k 


through  a  long  course  of  musical  study  when  he  or 
she  has  no  special  aptitude  for  it.  If  they  do  not 
care  much  for  it,  let  them  study  it  enough  to  under- 
stand at  least  its  general  principles  and  to  store  the 
memory  with  a  goodly  number  of  tunes,  both  of  songs 
and  of  hymns,  for  their  future  pleasure  and  profit. 

The  most  popular  and  truly  meritorious  of  Moore's 
writings  were  his  "  Irish  Melodies,"  written  from  time 
to  time  between  the  years  1807  and  1834.  Byron 
has  said :  "  Moore  is  one  of  the  few  writers  who  will 
survive  the  age  in  which  he  so  deservedly  flourishes. 


He  will  live  in  the  'Irish  Melodies.'  They  will  go 
down  to  posterity  with  the  music;  both  will  last  as 
long  as  Ireland,  or  as  music  and  poetry."  Alison,  in 
his  History  of  Europe,  adds  this  tribute  to  their  merii, 
"  His  Irish  and  National  Melodies  will  be  immor- 
tal ;  and  they  will  be  for  this  reason, — that  they  ex- 
press the  feelings  which  spring  up  in  the  breast  of 
every  successive  generation  at  the  most  important 
and  imaginative  period  of  life.  They  have  the  deli- 
cacy of  refined  life  without  its  fastidiousness,  the 
warmth  of  natural  feeling  without  its  rudeness." 


FRANKLIN-SQUARE   SONG    COLLECT/ON. 


135 


'TIS  LONE  ON  THE  WATERS. 


John  Blockley. 


■=X 


--m-^-mz 


Moderato. 
I.  'Tis     lone 


a^E^E 


&;£!^ 


I 

on     the     wa  -  ters,       when  eve's     mournful   bell  Sends  forth     to      the 

2.  When  the  wing  of    the     sea-bird         is     turned     to        her  nest,      And  the  heart    of     the 

^—r^ ^      ^     r^—m ffr-r^ 1* ^-rf= ^  \^    TrP P      » 


:p: 


:^=te: 


:^=¥:itB-W::^: 


^±^4: 


:!■=*!: 


-^-^- 


•ts- 


sun  -  set       a        note      of     farewell ;  When  borne    on      the  shadows     and  winds     as      they 
sai  -  lor      to       all       he  loves  best ;      'Tis   lone       on      the  wa  -  ters,     that  hour     hath      a 


tofe 


-C2- 


3^^ 


v:^- 


fS 


-w-w 


^^- 


jdZlK 


t=^^ 


"mo^—W 


rfe: 


^ 


:=F 


t) 


?^EgE=^=rfeg=s^3 


-j=M±m=t±^- 


tWii^S^: 


'^ — 

sweep,  There  comes  a     fond  mem  -  'ry     of    home     o'er       the  deep,  There  comes     a      fond 
spell         To  bring  back  sweet  voi  -    ces     and  words     of       fare -well,      To  bring    back  sweet 


tfr- 


Sf^PS^ 


ii2_ 


^r=f=fS: 


-^ 


0  .r? 


f=F= 


^ 


'f^ 


^ 


^fe 


J 


^- 


--^' 


--^-- 


:j2 


^^?^ 


2^^: 


t) 


mem 

voi  - 


•  ry 

ces 


of    home     o'er    the  deep; 
and  words    of      fare  -  well ; 


* 


'Tis  lone 
'Tis   lone 

^2- 


on     the      wa  -  ters         when 
on     the      wa  -  ters         when 

^      ^     It    3?:       It 


m. 


% 


±1: 


^^^^ 


n     *i    y  H- 


^i^tM 


^s=^ 


eve's     mourn  -  ful         bell  Sends  forth      to      the     sun  -  set 


note        of      fare 


-#^-(«- 


^- 


ii2_ 


t      g    if      ^    ,.   r    L^:=g=g 


iJb: 


-W-^m- 


f^ 


^^t 


P=M*= 


well.         Sei 


dolce. 


^:^k:^Tt^=^^ 


Sends     forth 


to      the       sun  -  set 


■:=^^=ZW^- 


note        of      fare  -  well. 


ii 


F^ 


136 


FRANKLIN-SQUARE  SONG  COLLECTION. 


Sound  and  Light. — The  analogy  between  sound 
and  light  is  perfect  even  in  its  minutest  circumstance. 
When  a  certain  number  of  vibrations  of  a  musical 
chord  is  caused  in  a  given  time,  we  produce  a  required 
sound;  as  the  vibrations  of  the  chord  vaiy  from  a 
quick  to  4  slow  rate  we  produce  sounds  shaqj  or  grave. 
So  with  light;  if  the  rate  at  which  the  ray  undulateS 
is  altered,  a  different  sensation  is  made  upon  the  or- 
gan of  vision.  The  number  of  aerial  vibrations  per 
second  required  to  produce  any  particular  note  in 
music  has  been  accurately  calculated;  and  it  is  also 


known  that  the  ear  is  able  to  detect  vibrations  pro- 
ducing sound,  through  a  range  commencing  with 
fifteen,  and  reaching  as  far  as  forty-eight  thousand, 
in  a  second, — the  longest  waves  capable  of  producing 
the  sensation  of  sound  being  sixty-six  feet  in  length, 
and  the  shortest  three  and  one-fifth  inches.  So  also 
in  the  case  of  light,  the  frequency  of  vibrations  of 
the  ether  required  for  the  production  of  any  particular 
color  has  been  determined,  and  the  length  of  the 
waves  corresponding  to  these  vibrations.  The  waves 
producing  that  sensation  on  the  nerve  of  sight  which 


^ 


HAPPY   DAYS   GONE   BY. 

Tempo  di  Vahe. 


D.  Godfrey. 


^^ 


"^^ 


W-^ 


-9-         -m- 


=^=:2^ 


1.  O       hap    -   py     days     gone      by, 

2.  I         lin    -    ger     o'er       the       past, 

3.  Still   o'er       the     past       we      dwell, 


So       fond  -   ly     dear       to       me; 
Sweet  vis  -    ions     of        the     heart ; 
With  fond       in  -  creas  -  ing     care; 


:&- 


* 


-^- 


h:; 


-^-- 


^?-^ 


H: 


It: 


con  anitna. 


^^ 


^- 


2^=30^ 


^^^^S^^ 


^\ 


Cfc 


mi* 


i 


■gj <iL 


:^: 


-«-M- 


-^ 


As  flowers  the  fair  -  est  soon 
I  mourn  o'er  hours  that  can 
To      all     those  scenes  we     bid 


^=z:^z:£^=:=?zqie=^ 


•  est     die,       So   youth's  bright  hours  no  more     I 
not    last.      And     yet     how  soon  those  dreams  de  - 
fare -well.     Those  death-less  mem"- ries  dear    and 


P 


*=S: 


^ 


iz 


--=t 


^=T 


=^pLjUl=^ 


^2: 


fct 


see.  Fare -well,  those  hap  -  py  days, 
part!  Oh!  will  they  ne'er  re  -  turn, 
fair.       Then  let       us      fond    -  ly       dream 


How   soon  youth's  joys        de  -  cay; 
To        glad      the   heart       a  -  gain? 
Those   ear    •   ly      vis    -    ions    o'er; 


Like     mu  -  sic's  sweet  -  est, 
They're  cloistered  deep     in 
Like    stars   that    burn,  then 


^ 


g=*=:fe=f 


ten  -  d'rest  lays.  They  charm,  then  fade  a  -  way, 
mem  -  ory's  urn,  In  si  -  lence  and  in  pain, 
hide      their  beam,  They  fade         to    shine     no  more ! 


:S2: 


i 


we  agree  to  call  red,  are  tlie  largest;  orange  comes 
next;  then  yellow,  green,  blue,  indigo,  violet  succeed 
each  other,  the  waves  of  each  being  less  than  the  pre- 
ceding. The  rapidity  of  the  vibrations  is  in  the  same 
order,  the  waves  producing  red  light  vibrating  with 
the  least,  and  those  producing  violet, at  the  other  end 
of  the  spectrum,  with  the  greatest  rapidity.  To  pro- 
duce red  light,  it  is  necessary  that  39,000  waves  be 
comprised  within  the  space  of  a  single  inch,  and  that 
460,000,000,000,000  vibrations  be  executed  in  one 
second  of  time ;  while  for  violet,  57,500  waves  with- 


in an  inch,  and  680,000,000,000,000  vibrations  per 
second  are  required.  How  do  we  reach  these  fig- 
ures infinitely  beyond  human  comprehension  ?  It  is 
known  that  light  travels  186,000  miles  per  second. 
Each  second,  therefore,  a  length  of  ray  amounting 
to  186,000  miles  must  enter  the  pupil  of  the  eye. 
But  in  the  case  of  red  light  there  are  39,000  vibra- 
tions to  the  inch.  In  the  space  of  so  many  miles 
there  must  be  460,000,000,000,000  of  vibrations!! 
Rays  of  light  of  all  colors,  as  waves  of  sound  of 
every  pitch,  pass  uniformly  with  the  same  velocity 


FRANKLIN-SQUARE   SONG    COLLECTION. 


137 


BOUNDING  BILLOWS. 


Mar^  Derby,  1780. 


^ 


:il==i}: 


i 


S 


mo 
pas 
lead 


1.  Bound  -   ing 

2.  Proud  has 

3.  Far  I 

4.  Not  one 


bil   - 
been 

go. 
sigh 


lows,  cease 
my  fa     - 

where  fate 

shall  tell 


your 
tal 
may 
my 


tion,  Bear  me  not       so 

sion;  Proud  my  in  -  jured 

me;  Far  a     -  cross    the 

ry,  Not  one  tear     my 


m 


•Sf-^ 


2: 


53 


M: 


^-r-^ 


lit* 


a^=aF 


r 


swift 

heart  shall 

trou  -  bled 

cheek  shall 


o'er;  Cease    thy  roar  -  ing,  foam   -  y 

be;  While  each  thought  and  in    -     cli 

deep.  Where   no  Strang  -  ers  e'er      can 

stain,  Si     -     lent  grief    shall  be        my 


O  -  cean,   Cease  thy 
na  -  tion,    While  each 
heed  me.     Where  no 
glo  -  ry —  Sil    -    ent 


roar  -  ing,  foam 

thought  and  in    • 

Strang -ers  e'er 

grief    shall  be 


y  O  -   cean,        I    -     will   tempt  thy  rage  no 

cli    -  na  -    tion.  Still    '  shall  prove  me  wor    -  thy 

can  heed  me.  Where   no      eye  for  me  shall 

my  glo  -  ry —  Grief     that   stoops  not  to  com    -    plain. 


more, 
thee, 
leep. 


i 


# 


i 


22 


:2± 


THE  BELL  IS  RINGING 

1,       (ROUND.) 


F.  S11.CHKR, 


I 


Hark !  the  bell  is  ringing,  Calling  us  to  sing-ing,   Hear  the  cheerful  lay.  Come,  come,  come  away! 


23^ 


^ 


^=?s^ 


■^if=iir- 


W 


^-^=^- 


^Mr^ 


^=^ 


w^ 


-^^m:^ 


Hark !  the  bell  is  ringing,        Call-ing  us  to  singing.   Hear  the  cheerful  lay.  Come,  come,  come  away ! 
3. 


b^     M  y 


S5?3a?* 


^-  N  N 


H^:^ 


:?N=S 


1)^4  ^ 


Sjd3t^ 


Hark!  hark !  the  bell  is  ringing,        Call-ing  us  to  sing-ing,    Come,  come,  come,  come  away ! 


(ROUND.) 


i3S 


w 


^3=*: 


M: 


Scot  -  land's     burn   -    ing !       Scot  -  land's  bum   -    ing ! 
3  .  4 


Look        out ! 


look 


1^ 


W^3, 


1^ 


:t=: 


out! 


Fire !      fire ! 


fire !       fire ! 


Cast        on 


more     wa    -    ter. 


U8 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Music,  of  all  other  arts,  is  more  especially  placed 
at  the  mercy  of  mankind.  The  painting,  once  fin- 
ished, needs  nothing  but  the  light  of  heaven  to  con- 
vey it  to  the  organ  by  which  it  is  admitted  to  the  mind. 
The  poem,  with  all  its  holy  utterances,  its  pathos,  its 
passion, has  its  form  in  "words  that  burn."  But  there 
is  no  such  silent  independence  in  music.  The  off- 
spring of  the  musician  is  born  dumb — it  reaches  no 
ear  but  his  own,  and  that  a  mental  one — it  has  to  ap- 
peal to  others  to  give  it  voice  and  being.    Hence  it 


comes  that  the  composer  and  his  composition  are 
separated  by  a  medium  which  too  often  7-eflects  dis- 
honor not  only  upon  him,  but  upon  the  art  itself.  He 
is  at  the  mercy  of  the  caprices  of  singers  and  players ; 
and  the  material  through  which  it  gets  expression, 
the  wood,  the  catgut  and  metal — all  liable  to  every 
variation  of  theweather — are  indispensable  toitsvery 
existence.  The  subtle  form  and  conditions  of  music 
are  remarkable.  It  has  also,  as  it  were,  to  put  on 
mortality  afresh — it  is  ever  being  bom  anew,  but  to 


DAYS  OF  ABSENCE 


Rousseau,  1775. 
Rousseau's  Dream.' 


1.  Days      of 

2.  Not        till 

3.  All         my 


ab  -  sence,  sad  and  drea  -  ry,  Clothed  in 
that  loved  voice  can  gieet  me.  Which  so 
love      is  turned    to     sad  -  ness,  Ab  -  sence 


sor  -  row's  dark 

oft      has  charmed  mine 

pays    the    ten   -    der 


ray; 
ear; 
vow, 


m 


Wr~r- 


•^-« 


p^^^g=^fe^^^gi 


S 


www 


Days  of 
Not  till 
Hopes   that 


^ 


ab  -  sence,  I  am 
those  sweet  eyes  can 
filled   the    heart  with 


wea  -  ry,     She 
meet   me.    Tell  -  ing 
glad  -  ness,  Mem  -  ory 


^^^^M^^^^^mm 


When  the  heav  -  y  sigh 
Days  of  ab  -  sence  then 
Love      may      yet        re  -  turn 


be      ban-ished?  When 
will    van  -  ish,    Joy 
to      greet    me,    Hope 


this       bos  -  om    cease    to  mourn? 
will       all        my   pangs   re  -  pay; 
may     take     the    place    of    pain ; ' 


m 


^:^=P: 


lit: 


±:: 


±1: 


^^ 


^35 


of 


Hours 
Soon       my 
An     -     toin 


bliss  too  quick  -  ly 
bos  -  om's  i  -  dol 
ette     with  kiss  -  es 


van  -  ished,  When  will 
ban  -  ish  Gloom,  but 
meet  me,    Breath  -  ing 


aught  like   you 

felt     when  she's 

love      and  peace 


e^^ 


f^ 


^ 


3 


:^-:^ 


S^^Il 


rfl 


turn? 
way. 
gain. 


H 


±:z=l:t 


die  away  and  leave  only  dead  notes  and  dumb  instru- 
ments behind.  The  orchestra  and  choristers  assem- 
ble, and  it  is  there — but  gone  again  when  they  dis- 
perse. In  this  fugitiveness  of  form  some  have  pre- 
tended to  see  only  the  frivolity  of  the  thing ;  but  how 
deep,  on  th*"  contrary,  must  be  the  foundations  of  that 
pleasure  which  has  so  precious  a  form  of  outward 
expression ; — how  intensely  must  that  enjoyment  be 
interwoven  with  the  godlike  elements  of  our  being, 
in  which  mere  outward  sense  has  so  fleeting  a  share ! 
The  very  limitation  of  its  natural  resources  is  the 


greatest  proof  of  its  spiritual  power.  Were  it  not  for 
thegrossnessofournatures,weshouldtakeitin,notby 
the  ear  only,  but  by  every  pore  of  our  frames.  And  yet 
our  intensest  sympathies  are  awakened,  and  this  mys- 
terious influence  is  exerted  merely  through  a  slight 
and  evanescent  vibration  of  the  air !  "  Whence  art 
thou  !  thou  divine,  mysterious  thing?"  is  a  question 
we  must  ever  ask  in  vain,  because  its  paths  are  lost  m 
the  depths  of  our  being.  We  only  know,and  can  know, 
of  music  that  its  science  is  an  instinct  of  our  nature — 
its  subjects  the  emotions  of  our  hearts. —  Wysham. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


139 


There  is  no  power  of  love  so  hard  to  get  and  keep 
as  a  kind  voice.  A  kind  hand  is  deaf  and  dumb.  It 
may  be  rough  in  flesh  and  blood,  yet  do  the  work  of 
a  soft  heart,  and  do  it  vith  a  soft  touch.  But  there  is 
no  one  thing  that  love  so  much  needs  as  a  sweet  voice 
to  tell  what  it  mean?  and  feels ;  and  it  is  hard  to  get 
and  keep  it  in  the  right  tone.  One  must  start  in  youth 
and  be  on  the  watch  night  and  day,  at  work  and  play, 
to  get  and  keep  a  voice  that  shall  speak  at  all  times 
the  thoughts  of  a  kind  heart.     But  this  is  the  time 


when  a  sharp  voice  is  most  apt  to  be  got.  You  often 
hear  boys  and  girls  say  words  at  play  with  a  quick, 
sharp  tone,  as  if  it  were  the  snap  of  a  whip.  When 
one  of  them  gets  vexed  you  will  hear  a  voice  that 
sounds  as  if  it  were  made  up  of  a  snarl  and  whine,  and 
a  bark.  Such  a  voice  often  speaks  worse  than  the 
heart  feels.  It  shows  more  ill-will  in  the  tone  than  in 
the  words.  It  is  in  mirth  also  that  one  gets  a  voice  or  tone 
that  is  sharp,  which  sticks  to  him  through  life,  and  stirs 
up  ill-will  and  grief,  and  falls  like  a  drop  of  gall  on 


THE  GIRL  I  LEFT  BEHIND   ME. 


"Brighton  Camp,"  1760? 


^E 


i 


i^a=^=^ 


I     cross'd  the      hill,  And  o'er 

for  -  get  the     night,  The  stars 

ey    taste  no      more,  The  dove 

shall  still  re   -  tain.  In    sleep 


-A f^     -g 


-m-    -m^^ 

the   moor  and 

were  bright  a     - 

be  -  come  a 

-    ing     or  in 


I  Allegretto. 

I.  I'm         lone  -  some  since 
ne'er  shall         I 

bee     shall  hon 

mind     her  form 


2.  Oh: 

3.  The 

4.  My 


feE^; 


^_- 


%=t±=t- 


S=S=^- 


:H 


t: 


:S 


# 


^- 


:«t=S?= 


'J^Z 


val     -  ley ; 

bove  me, 

ran     -  ger, 

wak   -  ing. 


Such 
And 
The 
Un 


heav 

gent 

dash 

til 

-1^ 


-  y   thoughts  my  heart     do      fill,  Since    part  -  ing  with   my 

-  ly      lent  their  silv    -  'ry  light.  When  first     she  vowed  she 

-  ing    waves  shall  cease  to    roar.  Ere       she's    to  me       a 
I        see  my   love     a  -  gain,  For       whom  my  heart     is 


Sal 
loved 
stran 
break 


ly- 

me 
ger 
ing. 


I 

But 
The 
If 


seek 
now 
vows 
ev  - 


no    more   the     fine     and   gay.  For       each     does  but 

I'm  bound   to    Brigh  -  ton  camp.  Kind  Heaven,  may  fa  -  vor 

we've  reg  -  is  -  ter'd     a  -  bove  Shall      ev    -     er  cheer  and 

er         I     should  see     the     day.  When  Mars     shall  have    re  - 


m 


mind    me  How  swift  the  hours  did  pass 

find      me.  And  send  me  safe  -  ly     back 

bind    me.  In      con  -  stan-cy      to     her 

signed  me,  For     ev  -  ermore     I'll  glad 


a  -  way.  With  the 
a  -  gain  To      the 
I     love,  The 
ly    stay   With  the 


5=< 


:p=e 


girl 
girl 
girl 
girl 


I've 
I've 
I've 
I've 


left 
left 
left 
left 


be  -  hind 
be  -  hind 
be  -  hind 
be     hind 


me. 
me. 
me. 
me. 


wi-m- 


Ie£ 


11 


the  sweet  joys  at  home.  Such  as  these  get  a  sharp 
home  voice  for  use,  and  keep  their  best  voices  for  those 
they  meet  elsewhere,  just  as  they  would  save  their  best 
pies  and  cakes  for  guests,  and  all  their  sour  food  for 
their  own  board.  Use  your  guests'  voice  at  home. 
Watch  it,  day  by  day,  as  a  pearl  of  great  price,  for  it 
will  be  worth  more  to  you  in  days  to  come  than  would 
the  best  pearl  hid  in  the  sea.  A  kind  voice  is  a  joy 
hke  a  lark's  song  to  a  hearth  and  home.  It  is  to  the 
heart  what  light  is  to  the  eye.     Sweeter  than  song— it 


is  a  light  that  sings  as  well  as  shines.     Train  it  to 
sweet  tones  early  and  it  will  keep  in  tune  thro'  life. 

"The  girl  I  left  behind  me,"  is  thought  to  be  of 
Irish  origin.  It  was  written  when  there  were  camps 
along  the  coast  of  England,  and  was  long  known  as 
"  Brighton  Camp."  P^or  upwards  of  a  centuiy  it  has 
been  a  favorite  with  military  bands  and  is  usually 
played  on  such  special  occasions  as  the  departure 
of  troops  from  home  or  from  camp,  as  well  as  upon 
the  sailing  of  a  transport  as  she  wefghs  her  anchor. 


140 


FRANKLIN-SQUARE   SONG    COLLECTION. 


CHILD  OF  EARTH  WITH  THE  GOLDEN  HAIR. 


Chas.  E.  Horn. 


tfe==^ 


* 


:^H=^^^ 


t=6: 


ty        Allegro  con  anima. 

1.  Child      of        earth  with  the    gold  -   en       hair,        Thy   soul's     too      pure      and    thy 

2.  I'll         rob      of  its  sweets  the    hon    -    ey       bee,  I'll    crush      the     wine    from   the 


face      too       fair,      To       dwell    with    the      crea  -  tures    of        mor   -   tal    mould,  Whose 
cow  -  slip       tree,      I'll        pull        thee  ber  -    ries,   I'll      heap      thy      bed       Of 


M?=^ 


^ 


ii= 


£^=i=gEEgEEg 


tf— |g    \t      ^    w 


^    i» 


S 


^= 


^^ 


r^E^ 


:s=q= 


litzbi 


*=^=f=?= 


^«*' 


lips       are     warm      as    their  hearts    are      cold.     Roam,    roam  to    our     fai  -  ry     home. 
down  -  y       moss      and    the      pop  -  pies       red.      Roam,    roam  to    our     fai  -  ry     home. 


*^ 


-(•- — m- 


t^=^ 


--e=f^ 


=p5= 


11 


9 


^ 


:^ 


^m 


^-£ 


^ 

-•-^n 


^tt=S: 


:^=* 


«=i=^ 


5=S 


t=^ 


f 


^1W= 


-■c brf L 


>-tir 


:hild    of 


Child     of  earth  with  the   gold  -  en     hair,     Thou    shalt  dance  with  the    fai  - 
Child     of  earth  with  the   gold  -  en     hair,      Dim    sleep  shall  woo  thee,   dar 


ry  queen  Thro' 
ling  boy.  In  her 


^^^^^m 


sum  -  mer  nights  on   the    moon  -  lit    green.  To      mu    -    sic      mur  -  mur 
mild  -  est   mood,  with      dreams  of      joy.    And   when  with  the  morn    - 


ing 
ing 


^&=E=^ 


^^W 


l==F?=e=P= 


f 


"sr^- 


t.^^-^- 


^=i^ 


^ 


3^: 


ii^g^ 


iEE^ 


far 
reign, 


es 


Than    ev 
Pleas  -  ure 


er        was    heard     'neath     the      morn    -    ing 
shall      bid      thee         wel     -     -      come         a 


Pl^ 


ftyr=c*=^ 


r- 

star, 
gain. 


fc^=i^ 


4=: 


-^ 


FRANKLIK-SQUARE   SOXG   COLLECTION. 


I4t 


^      Animato 


mm 


^^=^. 


*=S= 


:^ 


:il=»l= 


5F 


^     H 


litz*: 


>— V 


^^V — *" 


^P^ 


Roam,    roam    to      our    fai 


*=^P^ 


ry 


home.    Child      of       earth    -with  the    gold  -  en    hair. 


£ 


^— y- 


:t: 


1^=t2=^ 


-fc^ 


t3=^ 


aj^^ 


^  ^ 


:j=«r: 


i?=^ 


l^r 


^ 


Roam, 


roam    to 


fai 


-  ry 


home.  Child    of    earth  with  the  gold  -  en      hair. 


-I (•-' 


-^       -^     J^ 
'm-^- 


^    *    -P-    -*- 


^ — I r" 1 !• 1 


MERRILY   EVERY   BOSOM   BOUNDETH. 


German  Air. 


g  ^  •  ^  rg m— — m — *- 


f=s^ 


fe 


1.  Mer-ri-  ly     ev  -  'ry  bo  -  som  bound-eth,      Mer-ri-ly,    oh!        mer-ri-  ly,      oh! 

2.  Wea-ri  -  ly     ev  -  'ry  bo  -  som  sigh  -  eth,*  Wea-ri  -  ly,    oh!        wea-ri  -  ly,      oh! 

3.  Cheer-i  -  ly,  then, from  hill   and  val  -  ley,     Cheer -i -ly,    oh!        cheer -i-ly,      oh! 


Where  the  song  of  Freedom  sound  -  eth,  Mer  -  ri  -  ly,  oh ! 
When  the  dove  of  Peace,  it  fli  -  eth,  Wea-  ri  -  ly,  oh ! 
As  when  lake  and  zephyr     dal   -     ly,    Cheer-i  -  ly,    oh! 


mer  -  ri  -  ly,  oh ! 
wea  -  ri  -  ly,  oh ! 
cheer-i  -  ly,  oh! 
.^     ,N     ,S 


There  the  gathering  smiles  of  Peace  are  beaming.  Where  the  star  -  r)'  flag   is   gai   -    ly  streaming, 
There    no  cheerful  songs  of  Free-dom  greeting,  Childhood's  happy  smile  how  quickly  fleet-ing. 
While  the  children  shout  in  gladsome  manner  Where  they  wave  the  nation's  star- ry    ban-ner. 


^     ^     ^  '^ 

Ev  -  e  -  ry  joy     the  land    re-sonnd  -  eth,  Mer  -  ri  -  ly,  oh  I  mer  -  ri  -  ly,            oh ! 

Ev-e  -  ry  flow  -  er    of      life  then   dieth,  Wea-ri  -  ly,  oh!  wea-ri-  ly,             oh! 

Round   the  flag     of  Free  -  dom  ral   -    ly,  Cheer-i-   ly,  oh!  cheer-i-  ly,            oh! 

3                      -m-'  -m-  im-                       3  ^  >  _>__> 


♦The  minor  is  used  in  this  verse  with  effect,  where  there  is  an  instrument  to  guide,  by  substituting  E  flat 


forE. 


142 


FKANKLIN-SQUAKE   SONG    COLLECTION. 


Luther  found  very  much  delight  in  music.  After 
his  marriage  it  was  his  custom  once  a  week  to  have  a 
musical  entertainment  at  his  house,  when  instrumental 
and  vocal  selections  were  given,  and  Christmas  was 
always  kept  with  great  gayety.  Luther  himself  was 
an  excellent  singer,  accompanying  himself  upon  the 
guitar,  and  he  composed  music  for  several  of  his  hymns. 
The  most  celebrated  of  these  compositions  is  his  Battle 
Hymn.  No  translator  has  ever  been  able  to  reproduce 
in  forcible  English  the  spirit  and  sublimity  of  the  orig- 
inal. The  Marseillaise  of  the  Reformation,  as  Heine 
well  says,  was  this  veritable  warsong,  Ein  Feste  Burg. 
"  Upon  its  theme,"  remarks  Dr.  Leonard  W.  Bacon, 
"  the  composers  of  the  sixteenth  and  seventeenth  cen- 
turies practiced  their  artifice.  The  supreme  genius  of 
Sebastian  Bach  made  it  the  subject  of  study.  And  in 
our  own  times  it  has  been  used  with  conspicuous  effect 


in  Mendelssohn's  Reformation  Symphony,  in  an  over 
ture  by  Raff,  in  the  noble  Festouverture  of  Nicolai,. 
and  in  Wagner's  Kaiser  Marsch ;  and  it  is  introduced 
with  recurring  emphasis  in  Meyerbeer's  masterpiece 
of  the  '  Huguenots.' "  The  earliest  hymn-book  of  the 
Reformation — if  not  the  earliest  of  all  printed  h)  mn- 
books — was  published  at  Wittenberg  in  1524,  and  con- 
tained eight  hymns,  four  of  them  from  the  pen  of 
Luther  himself.  An  interesting  letter  from  the  com- 
poser, John  Walter,  capellmeister  to  the  Elector  of 
Saxony,  embodies  his  reminiscenses  of  his  illustrious 
friend  as  a  church  musician.  When  Walter  asked 
Luther  how  he  came  by  his  good  taste  and  knowledge 
to  fit  all  the  notes  to  the  textaccording  to  the  "just  ac- 
cent and  concent,'  the  answer  was:  "I  learned  this  of 
the  poet  Virgil,  who  has  the  power  so  artfully  to  adapt 
his  verses  and  his  words  to  the  storj'  that  he  is  telling.'* 


A  MIGHTY  FORTRESS  IS  OUR  GOD. 

!        1        I        __,        ■ 


Ein  Feste  Burg." 
Martin  Luther,  1529 


113: 


1.  A     migh  -  ty  Fort  -  ress     is        our     God,  A       trus  -  ty      Shield  and  Weap 

2.  With  might  of  ours     can  naught   be     done.  Soon  were  our    loss       ef  -  feet 

3.  Tho'  dev  -  ils  all        the  world  should  fill,  All     watching  to  de  -  vour 

4.  The  W^ord  they  still      shall  let       re   -  main,  And  nev  -  er      thanks  have  for 


on; 
ed; 


He  helps  us  free  from     ev  -  'ry  need  That     hath  us       now    o'er  -  tak  -         en. 

But  for       us  fights  the      Val-iant  One     Whom  God  Him -self    e     -     lect  -         ed. 

We  trem-ble  not,     we      fear    no  ill.      They    can-not      over-pow  -  er  us. 

He's  by       our  side     up  -  on       the  plain,  With     His  good    gifts    and      spir  _  -        it. 


m 


•^    .  ^1 

might   Are      his  dread     arms    in       fight,    On       earth  is  not  his 

oth.      And    there's  none  oth   -  er       God,     He       holds  the  field  for 

none,   He's  judged,  the      deed    is       done,    One     lit  -    tie  word  o'er 

done.  They  yet        have   noth  -  ing    won,     The     King-dom  ours  re 


throws 
main 


qual. 
er. 
him. 
eth. 


iiP 


m 


FRANKLIN-SQUARE   SONG    COLLECTION. 


M5 


ROCK  OF  AGES. 


a.  m.  toplady,  1776. 
Thomas  Hastings,  1830. 


^^3 


1 


S 


--^ •^ 


-g=? 


==r 


Rock 
Not 
Noth  - 
While 


of 
the 


ing      in 
I      draw 


ges,  cleft      for  me.      Let     me     hide 

bors  of  my  hands  Can    ful  -  fil 

my  hand      I  bring,  Sim  -  ply     to 

this  fleet   -  ing  breath,  When  mine  eye 

j^ -0. m-  -g?-. 


_     "c? — 

my  -   self  in      Thee; 

Thy     law's  de  -  mands ; 

Thy     cross  I       cling; 

lids    close  in     death ; 


BzfcS: 


-is- 


^9=^ 


^ 


2^ 


-«i- — ^- 


5=»S 


_     -25 — » jf c=P— 5 m m -|^-     <^ 

ter     and      the     blood.  From   Thy     wound  -  ed      side  which  flowed, 

no     res    -  pite    know.  Could  my       tears        for  -  ev  -  er         flow, 

to      Thee    for     dress,  Help  -  less,     look         to       thee  for       grace : 

to     worlds  un  -  known.  See       Thee     on         Thy    judgment     throne. 


Let       the  wa 

Could  my  zeal 

Nak  -  ed  come 

When     I  rise 


J I      zHz 


^ 


r=t= 


=ii==* 


1 


-H 1 1 1- 


'^- 


z:t 


^=^ 


Be  of  sin  the      dou    -  ble  cure,  Save     from  wrath 

All  for  sin  could  not  a    -  tone,  Thou   must    save. 

Foul,  I  to  the     foun  -  tain  fly;  Wash  me,      Sa     - 

Rock  of  A  -      ges,    cleft  for  me.  Let       me      hide 


and  make  me    pure, 

and  Thou  a  -    lone, 

viour,  or  I       die. 

my  -  self  in     Thee. 


i 


fcfcit: 


m-^ — !• — Is 


f 


HOLY  BIBLE,  BOOK  DIVINE. 


J.  F.  Barton. 


^ 


H4— I       1^ 


m •! 


• 5 ^ 


j^. 


1.  Ho    - 

2.  Mine, 

3.  Mine, 

4.  Mine, 


ly  Bi    -    ble,  book 

to  chide     me  when 

to  com  -  fort  in 

to  tell        of  joys 


^ 


fct 


fEE£ 


di  -  vine; 

I       rove; 

dis  -  tress, 

to      come, 


Pre  -  cious  treas  -  ure,  thou     art     mine ; 

Mine,  to     show    a  Sa  -  viour's  love; 

If        the    Ho  -  ly  Spir  -  it       bless; 

And     the    reb  -  el  sin  -  ner's    doom; 


f 


i 


:«=E- 


^i^ 


^ 


dst 


i 


:iil=it 


±^: 


^^=^ 


ir-}-g 


-& — *- 


,   to    teach    me     what     I        am. 
,   to  judge,  con  -  demn,  ac  -  quit, 
can   tri  -   umph     o  -    ver      death, 
cious  treas  -  ure,     thou   art      mine. 


Mine,  to 

Mine  ait 

Mine,  to 

Ho   -  ly 


tell     me    whence     I  came;  Mine 

thou   lo       guide  my  feet,  Mine 

show  by       liv     -  ing  faith  Man 

Bi  -  ble,     book  di    -  vine.  Pre  - 


144 


FRANKLIN-SQUARE    SONG    COLLECTION. 


Music  is  a  language,  the  ideal  of  speech :  we  can 
imagine  its  existence  before  articulate  speech  was 
known.  Birds  sang  in  the  garden  of  Pxlen  before 
Adam  gave  them  a  name.  A  singing-bird  was  the 
first  music-master;  the  wind  breathing  through  water- 
reeds,  sighing  through  the  forest,  hissing  through  tall 
grasses,  the  rhythmic  beat  of  the  crested  waves,  the 
monotonous  bass  of  the  water-fall,  made  harmony 
and  melody  before  Pythagoras  dreamed  of  the  music 
of  the  spheres,  or  Hermes  declared  music  to  be  the 


knowledge  of  the  order  of  all  things.  We  call  it  a 
pretty  conceit  of  the  old  philosopher  who  believed 
the  order  of  the  stars  to  be  a  written  scroll  of  music, 
two  stars  ( which  are  said  to  have  appeared  centuries 
after  his  death  in  the  places  he  designated )  only 
wanting  to  complete  the  celestial  harmony.  There 
is  an  extremely  poetic  belief  among  the  Highlanders' 
that  the  sense  of  hearing  becomes  so  exquisitely  keen 
at  the  approach  of  death  that  nature's  divine  sym- 
pliony  can  be  heard  with  all  its  ravishing  sweetness. 


BLUE-EYED   MARY. 


^iiife 


=i=^^E^^ 


^^^ 


German  Air. 


IS3 


1.  "Come,     tell         me,  blue   -    eyed  stran     -     ger,      Say,      whith    -     er  dost         thou 

2.  "Come     here,       I'll    buy         thy    flow     -     ers,       And       ease  thy         hap    -     less 

3.  "  Look       up,       thou  poor        for  -  sak      -     en,       I'll        give  thee       house      and 


:t^=V: 


=S^ 


— ■— q- 


p5- 


f- 


^^^^^H^^ 


=1*: 


g=a^l=8t=f=j=^ 


roam  .■' 

lot; 

home. 


O'er      this       wide   world     a        ran       -     ger.    Hast  thou     no  friends,  no 
Still      wet       with     ver   -    nal    show     -     ers,     I'll      buy      for  -  get  -  me- 
And       if  I'm      not       mis  -  tak       -      en,  Thou'lt  nev  -  er  wish      to 

i^ 1^ 1^ 1^ — L-j^ : 1^ 1^ — I — I 1 


W=^T=^ 


P 


.jK |k —  _ 


v-r 


3Ei!ag3^3:^i:^^fEEEi=i 


^^^ 


^Si^ 


f=^ 


home  ? ' 
not."_ 


"  They  called     me  blue    -  eyed  Ma      -     ry.  When   friends 

"Kind  sir,  then  take        these  po  -    sies, — They're  fad 

Born  thus  to  weep       my  for  -     tune.  Though  poor, 

"  Once  more  I'm  hap     -    py  Ma     -      ry.  Once     more 


^- 


and  For 

ing,  like 

I'll  virtu 

has  For 


tune 
my 
ous 
tune 


-^^■ 


iJKZz^: 


:^=:^: 


K 


;3::^^S^=^^^E^^^^^^^&J 


smiled; 
f  youth ; 
j  prove; 

smiled; 


But,  ah !      how  for  -  tunes   va 

But  nev    -    er,  like    these    ro 

I  ear     -    ly  learn'd  this  cau 

Who  ne'er  from  vir    -    tue      va 


ry —  I  now  am  Sor  -  row's  child.' 
ses.  Shall  with  -  er  Ma  -  ry's  truth, 
tion.  That   pit    -    y    is        not   love." 

ry.    May   yet      be  For -tune's  child.' 


'§. 


1 


-I V 


t^: 


iE=tE 


■dulling  the  sense  of  pain  and  reconciling  the  soul  to 
its  departure.  From  this  superstition,  if  we  will, 
comes  their  custom,  as  the  last  moment  approaches, 
of  beanng  the  dying  from  the  close  shealing  to  the 
open  air,  where  undisturbed  he  can  listen,  in  the 
words  of  Humboldt,  to  ''  the  thousand  voices  of  nature 
speaking  to  the  thoughtful  and  pious  soul  of  man." 
The  following  is  from  "  Paul  Faber,  Surgeon,"  by 
George  Macdonald  :  The  best  of  her  undoubtedly  ap- 
peared in  her  music,  in  which  she  was  fundamentally  far 


superior  to  Helen,  though  by  no  means  so  well  trained, 
taught,  or  practiced  in  it;  whence  Helen  had  the  un- 
speakable delight,  one  which  only  a  humble,  large  and 
lofty  mind  can  ever  have,  of  consciously  ministering  to 
the  growth  of  another  in  the  very  thing  wherein  that 
other  is  naturally  the  superior.  The  way  to  the  blessed- 
ness that  is  in  music,  as  to  all  other  blessedness,  lies 
through  weary  labors,  and  the  master  must  suffer  with 
the  disciple.  Helen  took  Juliet  like  a  child,  set  her  to 
scales  and  exercises,  and  made  her  practice  hours  a  day. 


FRANKLIN-SQUARE   SONG   COLLECTION. 


145 


LOVE   NOT. 


John  Blockley, 
Caroline  Norton. 


^3^3^35 


— ^ — ~—-mt- — H S — ^ 


Andantino.     I 
I.  Love   not!    love  not!  Ye  hap 


hap  less  sons  of      clay,      Hope' 


>pe's  gayest  wreaths  are  made  of  earthly 
May  per-ish  from  the  gay  and  gladsome 


2.  Love    not !    love  not !  the  thing  you  love  may  die, 

3.  Love    not!    love  not !  the  thing  you  love  may  change.  The    ro-sy    lip    may  cease  to  smile  on 

4.  Love   not!    love  not!  oh,  warn-ing  vain-lv       said         In     present  hours,  as      in  years  gone 


"^^^mm 


flow'rs;  Things  that  are  made  to    fade  and  fade   a  -  way.     Ere     they  have  blossom'd   for  a 
earth.      The        si  -  lent  stars,  the  blue  and  smiling  sky.       Reams  on         its   grave,  as   once  up  • 

you,         The     kind-ly   beaming  eye  grow  cold  and  strange,  The     heart  still    warmly     beat  yet 

Ijy :  Love  flings    a      ha  ■   lo  round  the  dear  one's  head.  Fault  -  less,  im  -  mor-tal      till  they 


few        short  hours.   Ere  they  have  blossom'd  for  a      few 
on  its   birth,    Beams  on  its  grave,  as  once  up  -  on 

not  be    true.     The  heart  still  warmly  beat,  yet  not 

change     or    die,      Faultless,  im- mortal  till  they  change 


short  hours, 
its    birth, 
be   true, 
or     die. 


S^^ 


Love  not !  love  not ! 

Love  not !  love  not  1 

Love  not !  love  not  I 

Love  not !  love  not ! 


WHEN  THE  GREEN  LEAVES 


^S^^^tS^.^ 


:t5=^ 


1.  When  the  green  leaves  come  again,my  love,  When  the  green  leavescome  again.  Why  jut  on  a  dark  and 

2.  Ah !  the  spring  will   still  be   like  the  last.  Of  its  prom  -  ise   false  and  vain.    And  the  summer  die  in 

3.  So  the  seasons  pass,  and  so  our  lives.  Yet  I   nev  -  er     will  complain;  But  I  sigh,  while  yet  I 


^^^M^^^ 


cloud  -  y    face,  When  the  green  leaves,  When  the  green  leaves.  When  the  green  leaves  come  again  ? 
win -ter's arms.  Ere      the  green  leaves,  Ere  the  green  leaves,    Ere  the  green  leaves  come  a-gain. 
know  not  why.  When  the  green  leaves,  When  the  green  leaves.  When  the  green  leaves  come  again. 


I  ^ 

Nay,  lift  up  your  thankful  eyes,  my  love 

Thinking  less  of  grief  or  pain ; 
,For  as  long  as  hill  and  vale  shall  last, 
Will  the  green  leaves  come  again. 
II-K 


Sure  as  earth  lives  under  winter's  snow. 
Sure  as  love  lives  under  pain, — 

It  is  good  to  sing  with  every  thing, 
When  the  green  leaves  come  again. 


J  46 


J'A'.-LVA'L/X-SQL'AA'A'   SONG    COLLECTION. 


Another  grand  voice  of  nature  is  the  thunder. 
Ignorant  people  often  have  a  vague  idea  that  thunder 
is  produced  by  the  clouds  knocking  together,  which  is 
very  absurd,  if  you  remember  that  clouds  are  but  water- 
dust.  The  most  probable  explanation  of  thunder  is  much 
more  beautiful  than  this.  Heat  forces  the  air-atoms 
apart.  Now,  when  a  flash  of  lightning  crosses  the  sky, 
it  suddenly  expands  the  air  all  round  it  as  it  passes,  so 
that  globe  after  globe  of  sound-waves  is  formed  at  every 
point  across  which  the  lightning  travels.     Light  travels 


so  rapidly  (192,000  miles  in  a  second)  that  a  flash  ot 
lightning  is  seen  by  us  and  is  over  in  a  second,  even, 
when  it  is  two  or  three  miles  long.  But  sound  comes^ 
slowly,  taking  five  seconds  to  travel  a  mile,  and  so  all 
the  sound-waves  at  each  point  of  the  two  or  three  miles 
fall  on  our  ear  one  after  the  other,  and  make  the  rolling 
thunder.  Sometimes  the  roll  is  made  even  longer  by 
the  echo,  as  the  sound-waves  are  reflected  to  and  fro  by 
the  clouds  on  their  way;  and  in  the  mountains  we  know 
how  the  peals  echo  and  re-echo  until  they  die  away. 


THE  NINETY  AND  NINE. 


Ira  D. Sankey. 
Elizabeth  C.  Clephane,  1868. 


^4 

There  were    ninety      and  nine     that      safe 
•'  I^rd,  Thou       hast  here     Thy     nine  -  ty 

But  none  of   the     ran  -  somed  ev 

But  all   thro'  the     mountains,    thunder 


ly     lay      In    the    shel  -  ter  of       the 

and  nine;  Are  they  not  e  -  nough  for 
er  knew  How  deep  were  the  wa  -  ters 
riv  -  en,     And  up     from  the  rock  -  y 


n  K 1 

^  _^ 

1                ^ 

V 1  "  b 

' 

r     p     r 

'~S       » 

J          J                        c»       r* 

/\  n\-y     M           ^'           Ik.      Ik. 

#          •       J 

-T*   _r* 

fvv  f'       fl  •       * 

^             ]^       w 

'I     'j     *!  "  *j 

m     « 

*            V        4^ 

H    'I 

\^}             ^  '                  ^ '    _: ' 

V     ^ 

fj 

-»-  -»-     ^^^    "    ^ 

fold. 

But                 one           was     out 

on  the       hills        a  -  way,. 

Far 

Thee?" 

But    the      Shepherd  made  i.n 

•     swer:     " 'Tis         of    Mine 

Has 

cross' d; 

Nor  how    dark    was     the    night 

that  the       Lord  pass'd  thro',. 

Ere 

steep, 

There            rose              a        cry 

to     the       Gate      of  Heaven, 

"Re  - 

ip:- 

-^  ^    ^e^fr   -m-  -m- 

■«-'^«-       ^        =^     -«- 

^ 

^                           ^                  " 

^      r 

(fJ-i  \)\j     m  '       s.       w.^  ^^ 

LJ        L*         J                      ^- 

g 

LJ 

: 

^^Wvy           *' 

w       w 

w       w        w       \ 

w 

/ 

^            I 

*     w 

^^V  17 

?     S 

?      1? 

I 


i* 


S3 


&=s 


^ 


i^ti^zl^r 


^^^¥^ 


ainiat 


1^=^ 


^at 


:*=«t 


*f=»t=^ 


:N=: 


5^*^^=^=^^ 


-^'^-^ 


off     from  the     gates      of    gold —         A      -     way  on   the     mountains   wild  and  bare,    A  - 

wan  -  dered       away   from    Me;  And       although  the     road      be  rough  and  steep,   I 

He  found  His  sheep  that  was  lost;  Out        in     the  des  -  ert        He  heard    its  cry — ^'Twas" 

joicel    I   have  found      My  sheep!"  And  the  an     -    gels  echoed   a- round  the  throne,  "Re - 


way  from  the  ten  -  der     Shepherd's  care,   A   -  way  from  the  ten   -  der     Shepherd's    care. 
go       to   the  desert  to       find  My  sheep,    I       go      to   the   desert  to       find     My  sheep." 
help -less  and  sick,  and    ready    to    die,    'Twas  helpless  and  sick,  and     ready   to     die. 
joice,  for  the  Lord  brings  back  His  own  I  Rejoice,    for  the    Ix^rd  brings  back    His  own!" 


esFp^TS 


:e     le 


iS 


V 


I*  k  k 


^  firif-^'- 


»  u*  I 


?  i/ 


'^- 


P^fE 


"^ 


"We  have  selected  music,"  says  Rev.  Henry  Ward 
Beecher,  in  his  preface  to  the  Plymouth  Collection, 
"  with  reference  to  the  wants  of  families,  of  social  meet- 
ings, and  of  the  lecture-room,  as  well  as  of  the  great 
congregation.  But  the  tunes  are  chiefly  for  congrega- 
tional singing.  We  have  gathered  up  whatever  we 
could  find  of  merit,  in  old  or  new  music,  that  seemed 
fitted  for  this  end.  Not  the  least  excellent  are  the  pop- 
ular revival  melodies,  which,  though  they  have  been 
pften  excluded  from  classic  collections  of  music,  have 


never  been  driven  out  from  among  the  people.  These 
have  been  gathered  up,  and  fitly  arranged,  having 
already  performed  most  excellent  service.  They  are 
now  .set  forth  with  the  best  of  all  testimonials — the 
affection  and  admiration  of  thousands  who  have 
experienced  their  inspiration.  Because  they  are 
home-bred  and  popular,  rather  than  foreign  and  stately, , 
we  like  them  none  the  less.  And  we  cannot  doubt 
that  many  of  them  will  carry  up  to  heaven  the  devout 
fervor  of    God's   people  until  the   millennial  day." 


FRANKLIN-SQUARE   SONG    COLLECTION. 


I4i 


Music  is  one  of  the  best  of  arts.  The  notes  make 
the  words  living.  Music  drives  away  the  spirit  of  sad- 
ness, as  we  see  by  King  Saul.  Music  is  the  best  rec- 
reation for  sad  men ;  thereby,  the  heart  becomes  con- 
tented, refreshed,  and  restored.  Music  makes  a  man 
more  tender  and  sweet-natured,  more  moral  and  rea- 
sonable. I  love  music  at  all  times.  A  man  who 
knows  this  art  is  qualified  for  all  good  things.  It  is 
necessary  to  keep  music  in  schools.     I  do  not  look  at 


a  school-teacher  who  can  not  sing.  I  would  not  part 
with  my  little  music  for  great  riches.  Singing  is  the 
best  art  and  training.  Dear,  sing  me  a  song  as  David 
did  when  playing  his  harp.  Music  is  a  gift  and  a  dona- 
tion of  the  Lord,  and  not  from  men.  It  drives  away  the 
devil,  and  makes  people  merry ;  they  forget  anger,  im- 
purity, pride  and  other  vices.  And  we  see  how  David 
and  all  other  saints  have  put  their  pious  thoughts  into 
poems  and  songs.  —  Martin  Luther,  Dec.  i8,  1538. 


WAKE,  FOR  THE  NIGHT  IS  FLYING. 


"  Wachet  Auf." 
Philip  Nicolai,  1599. 


i 


^ 


^ 


^^= 


3^t 


^ 


'ZT 


1.  Wake,     a 

2.  Zi     -      on 

3.  Now       let 

r2 


^^rfr- 


wake,  for  night  is  fly  -  ing, 
hears  the  watch -men  sing  -  ing, 
all        the  heavens  a    -    dore  Thee, 


The 
And 
And 


watch  -  men  on  the 
all  her  heart  with 
men      and    an    -  gels 


^^^^ 


^^ 


P=T=T 


=W: 


^^ 


fT 


5,    ^-J— ^ 


i 


i 


pp-'^--  g  iJ  S  J  ^1^  i 


■^- 


^ijr-a   'o 


heights  are  cry     -    ing ;       A  -  wake,  Je    -  ru  -  sa  -  lem,    at       last !   Mid  -  night  hears      the 
joy       is     spring  -  ing ;       She  wakes,  she     ris  -   es    from  her  gloom ;  For       her     Lord    comes 
sing     be  -  fore      Thee,     With  harp  and  cymbal's  clear  -  est     tone ;  Of        one     pearl      each 


q^ 


P 


it=N=q^ 


:^ 


-)©- 


ar:r3=l: 


^i^ 


I  I 


:=i 


m 


P 


^^ 


^ 


2^ 


Wl 


welcome  voi  -  ces.  And  at  the  thrilling  cry  re  -  joi  -  ces ;  Come  forth,  ye  virgins, 
down  all  glo  -  rious.  The  strong  in  grace,  in  truth  vie  -  to  -  rious;  Her  Star  is  ris'n,  her 
shin -ing    por    -    tal,      Where  we    are  with  the  choir  im  -  mor   -    tal    Of         an  -  gels  round  Thy 


night  is  past ! 
Light  is  come  I 
dazzling  throne ; 


The  Bridegroom  comes,  a- wake, 
Ah,  come.  Thou  bless  -  ed  Lord, 
Nor  eye  hath  seen,  nor     ear 


^*=r^ 


Your  lamps  with  gladness  take;  Hal-le  -  lu 
O  Je  -  sus.  Son  of  God,  Hal  -  le  -  lu 
Hath  yet     attained  to     hear      What  there  is 


^^ 


r—r- 


^ 


r^ 


^ 


:=i: 


»=3=^ 


For  ye  must  go  to  meet  Him  there. 
WTiere  Thou  hast  bid  us  sup  with  Thee. 
One  hymn    of       joy      e    -   ter  -  nal   -   ly. 


^ 


*  ^ 


rf-r 


^ 


148 


FRANKLIN-SQUARE  SONG  COLLECTION. 


Progress. — Granting  the  need  of  more  general 
musical  culture,  if  we  as  a  nation  would  not  only  be- 
come capable  of  appreciating  the  highest  expression  of 
art,  but  would  cherish  the  hope  of  one  day  giving  birth 
to  the  true  artist,  child  of  his  times  and  his  people,  how 
shall  we  best  secure  that  training  and  that  broad  gen- 
eral culture  characteristic  of  the  universal  art  above  all 
others?  In  primary  and  grammar  schools  this  is  be- 
i,'un ;  in  the  high  and  normal  schools  in  the  large  cities 
this  training  progresses  as  far  and  as  rapidly  as  could 
be  reasonably  expected.     It  embraces  to  a  limited  ex- 


tent the  theory  of  music,  the  rudiments  of  harmony,  and 
more  or  less  proficiency  in  sight  singing  and  trainii^ 
as  chorus  or  part  singers,  rarely  as  soloists.  With  in- 
strumental music  no  acquaintance  is  attempted  as  yet, 
but  the  fields  are  ready  for  sowing.  Under  judicious 
leadership,  such  as  our  large  cities  are  able  to  command, 
thousands  of  boys  and  girls  are  famdiarized  with  good 
music,  and  have  taken  part  in  the  grand  choruses  which 
"sing  straight  up  to  heaven."  Mendelssohn,  Mozart, 
Handel,  and  Haydn  have  become  as  household  words. 
The  best  of  the  light  modern  music,  adapted  for  their 


JOY  WAIT  ON  THY   MORROW. 

-JS— fS fS in- 


French  Air. 


^^ 


-N— S=S: 


4^t 


--in^r 


-^  -*-  -•»-  ^ 

1.  Joy   wait  on    thy  morrow !  when  morning  shall  beam.  And  smile  thro'  its  tears  on  the  earth, 

2.  Joy    wait   on    thy  morrow  !  when  noon-tide  shall  glow.  And  shadows  grow  fainter  and  few, 

3.  Joy    wait   on    thy  morrow  !  when  evening  shall  sigh.     And  mantle  the  slumber -ing     world. 


May  pleasure  like  sunshine, may  hap-pi-nessgleam,  And  scat- ter  the  gloom  from  thy  hearth. 
May  Love's  glad'ning  presence  rest  over  thee,  so       That  Grief  find  no  place  for  its      hue; 
May  Sym  -  pa  -  thy  fold  thee,  and,  faith  -  ful  -  ly  nigh.  Watch  o'er  thee,  night's  banner  unfurled ; 


The  love-missioned  spir- its,  that  give  to  the  flowers  A  beauty,  and  brightness  the  darkness  denied, 
May  Friendship,  still  faithful,  strew  flowers  in  thy  way,With  wishes  of  hope,  and  of  faith,  and  of  truth ; 
While  dreams  of  the  future  make  light  round  thy  soul.  An  element  kindred,  and  cheering,  and  kind. 


s 


#_^«_H«- 


^-- 


m-m- 


^ 


.0t  0  p  m^ 


^ 


1*->- 


1*— |p= 


r-r~r-r-^ 


f»-ht 


t:z: 


r? 


.^—^—•^ 


-k-U-k_^ — ^ 


i^-t^- 


-i^-'9^-^- 


k  k 


Re-  store  to  tliy  bos -cm  the  hopes  which  in  hours  Of  sor  -  row,  have  withered  and 
We  know  tliat  thy  fu  -  ture  is  mirrored  to  -  day  If  thy  heart  keep  the  freshness  of 
Where  mu  -  sic  shall  linger,  and,  as  the   years      roll.    Sweet  peace,  and  contentment  of 


died. 

youth. 

mind. 


use,  is  given  for  their  profit  and  enjoyment,  making 
po.ssible  such  programmes  as  those  afforded  by  our  an- 
nual school  festivals,  when  twelve  or  fifteen  hundred 
fresh,  pure  voices  make  such  music  as  we  dream  of 
when  we  think  of  "the  voice  of  harpers  harping  with 
their  harps,  and  they  sung  as  it  were  a  new  song  before 
the  throne."  With  many,  because  of  other  interests 
and  occupations,  special  musical  instruction  ends  here, 
but  not  the  far-reaching  result.  The  glees  and  four- 
part  songs,  so  skillfully  and  thoroughly  learned  at 
school,  are  as  sweet  within  the  walls  of  the  humblest 


home,  in  the  woodland  ramble,  when  the  rare  holiday 
comes,  or  in  the  workshop.  The  purest  and  simplest 
form  of  musical  enjoyment  is  thus  made  possible,  with 
all  harmonious  requirements,  where  even  four  are  found 
with  one  heart  and  mind,  with  music  in  their  souls, 
though  not  a  single  musical  instrument  should  offer  its 
sustaining  accompaniment.  When  the  genius  of  song 
crowns  the  gospel  of  work,  there  will  be  fewer  strikes; 
grimy  faces  will  be  less  haggard ;  under  the  unconscious 
influence  of  beauty,  harmony,  and  rhythm,  labor  will 
be  more  cheerfully,  more  faithfully  performed — Gray. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


149 


MAKE  THE  BEST  OF  IT. 

-^ — h — k- 


l^=s=q^ 


C.  J.  DUNPHY. 

1^ 


^k^Li=i4^i^:^^diA 


%=9\ 


1.  Life     is      but      a      fleet-  ing  dream,  Care  destroys  the    zest     of    it;         Swift  it   gli-deth 

2.  If       your  friend  has    e'er      a     heart,    There  is  something  fine    in   him;      Cast    a -way  his 

3.  Hap  -  pi  -  ness  des  -  pis   -  es    state,    Tho"tis  no  dis   -  par-agement  When  the  man  that's 

4.  Trust  -  ing    in       the    Power  a  -  bove.    Which,    sustaining  all      of    us,         In    one   common 


feS 


^f:- 


f= 


:p=pi 


:^-^^ 


U 


^=f=t 


H 1 h- 


WWW 


W   W   V 


^ 


^^ 


r-" 


i=g^ 


*^ 


^ 


ijtzzts: 


^ 


^ 


ezz^ee^^ 


-»|— It 


3=1 


Talk   not     of    your  wea  -  ry  woes, 

Friendship    is      our  best      re -lief, 

Rank   is       not    the  spell     re-fined, 

Then,  what-ev   -   er  may     be  -  fall, 


w 


like     a    stream- 
dark  -  er       part, 
wise   and   great 
bond   of     love 


It 
him  : 


-Mind  you  make  the    best     of 
Cling  to    what's  di  -  vine     in 
Has    both  joy     and    mer  -  ri  -  ment. 
Bin  -  deth  great  and    small  of     us, 


^ 


r—r—^ 


g^  if-^^  r 


^m 


% 


=£^=^ 


^=^ 


f 


L^     l^ 


m^=i¥4^M^^^^m 


Troubles,  or  the 
Make  no  heartless 
Mon-ey'snot  the 
Sor  -  rows,  or    the 


rest  of  it, 

jest  of  it, 

test  of  it, 

rest  of  it. 


1/     1^         -     ^ 

If    we  have  but  brief  re  -  pose.  Let   us  make  the   best  of  it. 

It     will  brighten  ev  -  'ry  grief  If     we  make  the   best  of  it. 

But  a  calm ,  con  -  tent  -  ed  mind  That  will  make  the  best  of  it. 

We  shall  o-vercome  them  all.    If     we  make  the  best  of  it. 


^^^_ 


-f-f- 


^ 


im  "m  V  V- 


J^^trEc 


tF*: 


t«->- 


HAIL  TO  THE  BRIGHTNESS. 


Thos,  Hastings. 


Hail  to  the  brightness  of  Zi-on's  glad  morning !  Joy  to  the  lands  that  in  darkness  have  lain 
Hail  to  the  brightness  of  Zi-on's  glad  morning !  Long  by  the  proph-ets  of  Is-rael  fore  -  told 
Lo !  in  the  des-ert  rich  flowers  are  springing,  Streams  ever  co-pious  are  gliding  a  -  long 
See,  from  all  lands,  from  the  isles  of  the  o-cean.    Praise  to  Je^  -  ho  -  vah  as-cending  on    high 


Hushed  be  the   accents  of    sor-row  and  mourning. 
Hail       to    the  millions  from  bondage  re-turn-ing, 
Loud  from  the  mountain-tops  echoes  are  ring-ing, 
Fall'n  are   the  engines  of  war  and  com-mo-tion, 


Zi  -  on  in  triumph  begins  her  mild  reign. 
Gen-tiles  and  Jews  the  blest  vis-ion  be  -  hold. 
Wastes  rise  in  verdure,  and  mingle  in  song. 
Shouts  of  sal  -  va-tion  are  rend-ing  the   sky. 


»So 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Carols. — In  Shakespeare's  time  cajols  were  sung 
in  the  streets  at  night  during  Christmas  by  the  waits 
or  watches,  who  expected  to  receive  gifts  for  their 
singing.  Many  a  writer  upon  old  times  and  customs 
refers  to  the  "  wakeful  ketches  of  Christmas  Eve."  It 
was  after  the  Reformation  that  they  ceased  to  sing 
Latin  hymns  in  the  chnrches,  and  substituted  the  sweet 
Christmas  carols.  There  were  then  two  kinds  of 
carols  in  vogue — those  of  a  devotional  nature,  which 
were  sung  not  only  in  the  churches,  but  also  through 
the  streets  from  house  to  house  upon  Christmas  Eve, 


and  even  after  that,  morning  and  evening,  until 
Twelfth  Day ;  for  in  those  times  men  were  able  to 
spare  more  than  one  brief  day  for  the  celebration  of 
Christmas,  and  often  kept  up  the  festival  for  some  twelve 
days.  Other  carols  were  of  a  livelier  nature,  and 
were  especially  adapted  to  the  revel  and  the  feast 
where  the  lord  of  misrule  had  potent  sway.  These 
carols  were  all  called  wassail  songs,  and  probably 
originated  among  the  Anglo-Normans,  who  were  of  a 
convivial  nature.  No  Christmas  entertainment  was 
complete  without  the  joyous  singing  of  carols,  and 


COME,  WITH   THY   LUTE. 


Moderato. 


German  Melody. 


1.  Come,  with  thy     lute,      to  the  fount  -  ain;     Sing      me      a     song       of  the  moun-tain; 

2.  Come,  where  the  zeph-yrs  are  stray  -  ing.      Where, 'mid  the    flow  -  er-buds  play  -  ing, 

3.  Why  should  we  droop    in    our  sad   -   ness,     Na    -  ture,  her  prom  -  ise    of    glad  -  ness 


po=p=g 


f-ie—e-e- 


^=^ 


jr- 


t^=t^ 


Pf 


n 


-^- 


? " 


^  -J- 


^^^^^E^^fe^p^^^j^g^pi 


Sing  of  the  hap  - 
Rambles  the  blithe 
Sheds  o  -  ver    land 


py  and  free, 
summer  bee ; 
and   o'er      sea; 


There,  while  the   ray 

Let        the    lone  churl, 

Come,  bring  thy    lute 


IS  de  -  clin  -  ing, 
in  his  sor  -  row, 
to       the    foun    -  tain, 


m 


U  >  k    L*  i^  1/  ^      ^     V^>    >    U    >    1/    I      I 


While  its     last     ro  - 
He      who   despairs 
Sing,  love,   a      song 


ses  are  shin  -  ing.  Sweet  shall  our  mel 
of  the  mor  -  row.  Far  to  his  sol 
of    the   moun  -  tain.     Sweet  shall  our    mel 


o  -  dies  be, 

i  -  tude  flee, 

o  -  dies  be, 


Un-der  the  broad 
Un  -  der  the  dark 
Un  -  der  the  broad 


m 


r  '  r 


lin  -  den    tree 

cy  -  press  tree, 

lin  -  den    tree, 
I 


Un  -  der  the  broad 
Un  -  der  the  dark 
Un  -  der  the  broad 


tree, 
cy  -  press  tree, 
lin    -  den    tree. 


?=^ 


:p^ 


S 


^ 


V^ 


Un  -  der  the   lin  -    den 
2.     cy    -    press 


tree. 


Un  -  der  the    lin 
2.     cy 


den  tree. 


thence  came  the  rule;  "No  song,  no  supper,"  for 
every  guest  at  the  table  was  expected  to  join  in  the 
carol.  One  of  the  old  rules  was  that  "  the  ancient 
master  of  the  revel  is,  after  dinner  and  supper,  to 
sing  a  carol,  or  song,  and  to  command  the  other  gen- 
tlemen present  to  sing  with  him  and  the  companies." 
When  simple  curiosity  passes  into  love  of  knowledge 
as  such,  and  the  gratification  of  the  aesthetic  sense  of 
the  beauty  of  completeness  and  accuracy  seems  more 
desirable  than  the  easy  indolence  of  ignorance ;  when 
the  finding  out  of  the  causes  of  things  becomes  a  source 


of  joy,  and  he  is  accounted  happy  who  is  successful  in 
the  search,  common  knowledge  passes  into  what  has 
been  called  natural  history,  whence  there  is  but  a  step 
to  that  which  now  passes  by  the  name  of  physical 
science.  In  this  final  state  of  knowledge,  the  phenom- 
ena of  nature  are  regarded  as  a  continuous  series  of 
causes  and  effects.  And  the  ultimate  object  of  science 
is  to  trace  that  series,  from  the  term  which  is  nearest  us 
to  that  which  is  at  the  farthest  limit  accessible  to  our 
means  of  investigation.  The  field  of  Nature  is  bound- 
less, nowhere  inaccessible,  everywhere  unfattioniable. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


151 


In  instrumental  music,  even  more  than  in  singing, 
much  depends  on  the  fidelity  and  earnestness  of  the 
pupil.  It  is  true  that  if  the  lesson  be  very  long  and 
intricate,  it  is  not  possible  for  each  pupil  to  play  it 
through  with  close  criticism  ;  but  individual  perform- 
ance is  not  the  most  important  part  of  teaching ;  we 
are  all  more  or  less  imitative,  and  learn  by  example  and 
precept,  by  the  mistakes  and  successes  of  others.  Num- 
ber six  on  Monday  should  be  number  one  on  Thursday, 
and  in  turn  become  a  model  or  a  beacon.  The  stim- 
ulus that  is  assumed  by  the  associating  of  pupils  in  this 


work  is  too  important  to  be  overlooked.  Apart  from  that 
instinct  in  human  nature  manifested  in  a  desire  to  excel 
and  surpass  others  in  any  contest,  the  habit  of  playing 
and  singing  in  the  presence  of  others  tends  to  banish 
shyness;  andthat wretched wrtwi^aw/^ow/,? which  many 
of  us  know  to  our  cost  keeps  silent  many  a  music  lover 
who,  it  may  be,  is  no  mean  performer,  but,  unused  to 
displaying  his  or  her  talent  before  others  than  the 
teacher,  is  overwhelmed  with  fright  when  asked  to  con- 
fer pleasure,  getting  only  a  partial  and  individual  en- 
joyment out  of  a  large  expenditure  of  time  and  money. 


VIVA   UAMERICA. 


H.  Millard. 
By  per.  Wm.  A.  Pond  &  Co. 


Declamato. 

No     -    ble    Re  -  pub  -  lie  !  happiest    of  lands !  Fore-most  of  na  -  tions 

Should  ev  -  er     trai  -  tor    rise    in     the  land,  Curs'd  be  his  home-stead, 

To  all    her   he  -  roes,  jus  -  tice,  and  fame ;  To     all   her   foes,    a 


Pf-fr 


-«£ 


.m-  -m-  -^ 


-\r^ 


z|B=:iz=i 


H^^ 


^ — ^ ^—. ha — ra ha- 


-P-^^— #-^ 


^ 


Colum  -  bia  stands, 
wither'd  his  hand ; 
traitor's  foul  name ; 


^M 


'& 


Freedom's  proud  ban  -  ner      floats    in        the  skies  !       Where  shouts  of 
Shame  be     his    mem  -  'ry,      scorn   be        his   lot.  Ex     -      ile      his 

Our  stripes  and   stars     still     proud  -  ly      shall  wave,      Em   -     blem    of 


Lib    -    er    -   ty 
her    -     i    -    tage. 
Lib  -     er    -    ty — 


ijg— > — jp: 


:t2=:t?=tz: 


1: 


m. 


i#  i# 


^ 


V— t? — k: 


i^ 


J^>-^- 


:s=S=S: 


ga^=jti=s=il:»^E^ 


h  >  f 


dai  -  ly  arise !  U  -  nit  -  ed  we  stand,  di 
his  name  a  blot.  U  -  nit  -  ed  we  stand,  di 
Flag  of  the  brave  I U  -  nit  -  ed  we  stand,  di 


vided 
vided 
vided 


we  fall,  Union  for-ev  -  er,  freedom  for  all ; 
we  fall.  Granting  a  home  and  freedom  to  all ; 
we  fall,    Gladly  we'll  die  at  our  country's  call 


In  the  spring  of  1863  two  great  armies  encamped 
on  either  side  of  the  Rappahannock  River,  one  in  blue 
and  the  other  in  gray.  One  evening,as  twilight  fell, 
the  bands  of  music  on  the  Union  side  began  to  play 
their  martial  music,  the  "Star  Spangled  Banner"  and 
"  Rally  Round  the  Flag ;"  and  that  challenge  of  music 
was  taken  up  by  those  upon  the  other  side,  who 
responded  with  the  "  Bonnie  Blue  Flag  "  and  "Away 
Down  South  in  Dixie."  It  was  borne  in  upon  the 
soul  of  a  single  soldier  in  one  of  those  army  bands  to 
begin  a  sweeter  and  more  tender  air,  and  slowly,  as 
he  played  it,  they  joined  in  a  sort  of  chorus  of  all  the 


instruments  upon  the  Union  side,  until  finally  a  great 
and  mighty  tide  of  harmony  swelled  up  and  down  out 
army — "  Home,  Sweet  Home."  When  they  had  fin- 
ished there  was  no  challenge  yonder,  for  every  band 
upon  that  farther  shore  had  taken  up  the  lovely  air, 
so  attuned  to  all  that  is  holiest  and  dearest,  and  one 
grand  chorus  of  the  two  great  hosts  went  up  to  God. 
When  they  had  finished,  from  the  boys  in  gray  came 
a  challenge,  "  Three  cheers  for  home  !  "  and  as  they 
went  resounding  through  the  skies  from  both  .sides  of 
the  river,  "  something  upon  the  soldiers'  cheeks  washed 
off  the   stains  of  powder."  —  Frances  E.  Willard. 


'52 


FRANKLIN-SQUARE   SONG    C0LLEC7V0N. 


Ballads. — The  conditions  under  which  our  an- 
cient ballad-poetry  arose  are  tolerably  well  under- 
stood. It  belongs  to  a  primitive  state  of  society,  in 
which  the  knowledge  of  letters  was  restricted  to  a 
select  class,  and  tradition  was  the  sole  vehicle  of 
history  to  the  mass  of  the  people ;  when  manners 
were  ruder,  laws  less  reverenced,  the  passions  more 
unbridled,  the  utterance  of  emotion  franker  and  less 
conventional  than  now.  Though  the  writers  cannot 
always  be  supposed  contemporary  with  the  events  they 
record,  they  uniformly  address  a  sympathetic  audi- 
ence, whose  standard  of  morality  or  sentiment,  and 
level  of  culture,  little,  if  at  all,  differ  from  those  pre- 


vailing at  the  period  to  w^hich  their  traditions  refer. 
The  Border  miu'Strelsy,  for  example,  was  obviously 
written  for  the  children  or  grandchildren  of  the  moss- 
troopers whose  exploits  it  glorifies,  a  generation  to 
whom  appeals  to  a  higher  code  or  a  purer  taste  than 
their  ancestors  accepted  would  have  been  wholly 
unintelligible.  The  general  characteristics  of  the 
best  specimens  that  remain  to  us,  whether  of  the 
narrative  and  legendary  ballad  or  of  the  lyrical  and 
emotional  ballad,  are  an  unconscious  simplicity  of 
thought  and  language,  a  coarse  but  vivid  realization 
of  the  scenes  and  delineation  of  the  personages  pre- 
sented.   They  show  few  marks  of  artistic  construction 


COME  AGAIN 


^  1/  ^^^^ 

1.  We  will  take  from  our  parting  its  bitterest  word,  No  adieu  shall  be  spoken,  no  farewell  be  heard,  And  our 

2.  Come  again,  come  again,  with  a  warm,  loving  heart.  We  have  met  with  a  smile,  with  a  smile  let  us  part, 

[Tho'the 


last  fond  embrace  shall  be  eas'd  of  its  pain.  By  those  sweet,  soothing  words.  Come  again,  come  again.  Well  we 
bright,smilingdayof  our  meetingmaywane,We  will  singwhen  we  part.  Come  again,  come  again.  I'hen  give 


:«=^ 


^m 


X 


f 


B^-»- ->-|ig-U- 


:^ 


tuim^^^miii  m  iirn 


=5=^ 


^J'T^i'* 


know  when  we  sever,  the  tear  and  the  sigh  Will  be  heaving  the  breast  and  o'erflowing  the  eye,  But  the 
us  the  hand,  though  the  world  maybe  wide.  And  the  deep  rolling  ocean  so  soon  may  divide ;  Where'er 


Si 


i 


^g 


t^ 


^ — ^ f* ,^  ^  I* 


% 

L^  i^ 


Seh 


^ 


:tz=iic 


'^  V  V 


f 


gfe^^^^^^^ 


beam  thro' the  tear-drop  shall  kindle  amain.  And  the  sigh  ech-o  back.  Come  again,  come  again, 
we  may  wander,  o'er  land  or  o'er  main,  Hopeshallwhisperthewords,  Come  again,  come  again. 


nrrr-* 


^%Si^^^^ 


m. 


f 


r^^ 


tzSL 


i?=Bf: 


or  ornament,  beyond  a  rudimentary  sense  of  pictorial 
expression,  and  the  occasional  introduction  of  abrupt 
snatches  of  wild  fancy.  In  those  cases  where  a 
burden  is  added,  it  serves  either  to  mark  the  leading 
motive  of  the  theme,  to  suggest  the  musical  accom- 
paniment to  which  the  piece  was  set,  or  that  "rhythm 
of  the  feet"  from  which  the  composition  first  took  its 
name.  The  impossibility  of  restoring  the  conditions 
under  which  this  description  of  poetry  arose,  does 
not  oppose  any  obstacle  to  its  successful  cultivation 
in  our  day.  To  surrender  the  type  would  be  a  gratui- 
tous waste  of  means,  for  of  all  narrative  and  lyrical 


forms,  it  is  the  simplest  and  the  most  direct  in  its 
effects.  The  testimony  borne  to  its  potency  by  Sir 
Philip  Sidney,  by  Addison,  and  the  authority  for 
whom  Fletcher  of  Saltoun  stood  sponsor,  would  be 
unanimously  endorsed  to-day.  The  varnish  of  our 
social  conventionalism  is,  after  all,  extremely  thin, 
and  the  most  cultivated  audience  cannot  listen  to  a 
plain  story  of  heroism  or  of  pathos  without  flushing 
cheeks  and  burning  eyes.  For  enshrining  the  mem- 
ory of  any  grandly  heroic  achievement,  for  giving 
utterance  to  any  pure  emotion,  the  ballad  remains  the 
most  appropriate   vehicle. —  Contemporary   Review. 


FRAXKLIX-SQUARE   SONG    COLLECTION. 


153 


THE  DANUBE  RIVER. 

Tempo  di  Mazurka.      . 


Hamilton  Aids. 


^S 


:i* 


1.  Do    you      re -call         that  night     in  June,        Up  -  on  the  Dan- ube    riv  -  er?        We 

2.  Ou.r  boat   keptmeas  -    ure  with     its   oar,       The    mus    -     ic     rose    in  snatch- as;       From 


P^=s^ 


t^ 


t—^  r '  £^="=1=^^^  ^~^~%  z  z 


Mr^ 


C^ 


±± 


listened   to  a  Land-lertune,    And  watched  the  moonbeams  quiver.     I     oft  since  then  have 

peasants  danc  -  ing    on    the  shore,  With  boist  -  reus  songs  and  catches.         I  know  not  why     that 


g=«=!' 


i 


0-r-r- 


I 


^jt- 


£*=i=p^ 


g  r '  P 1    z  z  z 


te=^ 


vc^ 


•^    ?^ 


a  tempo. 


watched  the  moon,  But     nev-er,   no.      Oh    nev-er, 
Land  -  ler  rang  Thro'    all    my  soul,     But    nev-er. 


nev  -  er, 


Can       I 
Can      I 


fbr-get 
for-get. 


that 
the 


w 


.m--f--f- 


t 


fe^ 


#-^ 


£ 


P=iS 


>-^r^ 


5^ 


^ 


night   in  June,    Up -on        the  Dan-ube   riv-er.        Can    I      for-get       that  night  in  June,   Up- 
songs  they  sang,Up  -  on        the  Dan-ube    riv  -  er.        Can    I      for-get        the  songs  they  sang  Up- 


+^ — I    ^  N  u  « 


^^^^ 


i 


5^ 


^ 


j.Ji^Lji;,j.  ^  Firr^^i^_nMJy 


^1       ^ 

on       the  Dan-ube   riv  -  er,        Can    I      for-get       that  night  in  June,     Up  -  on    the  Dan  -  ube 
on       the  Dan-ube  riv-er.        Can    I      for-get        thesongsthey  sang.  Up- on    the  Dan -ube 


^=^ 


^ 


ES^ 


fc5=* 


i 


rtin 


^ 


ti=r 


E^ 


^--^Tf-^-^-/-^  ;ijr-g^ 


15=S: 


riv-er,        Can    I        tor -get      that  night    in    June,         Up -on        the  Dan  -  ube  riv  -  er. 
riv-er         Can    I        for-get        thesongsthey  sang.         Up- on        the  Dan  -  ube  riv  -  er. 


^ 


lEiEE 


^     ^ 


«S4 


IRANK'LIN-SQUARE   SONG    COLLECTION. 


JEANNETTE  AND  JEANNOT. 

Moderaio . 


^^M 


fey 


Chas.  Jeffreys. 
Chas.  W.  Glover. 


=giv=jl5g-t^ 


^^=^s=i 


1.  You    are    ^o  -  ing      far        a  -  way,       F'ar         a  -  way  from  poor    Jeannette,       There     is 

2.  Or     when  jjlo  -  ry     leads     the  way,       You'll    be  mad  -  ly     rush  -  ing    on,         Nev  -   er 


± 


^I^AjM^iEE^^ 


no     one     left        to   love      me      now,       And  you        too      may        for-  get;  But      my 

think  -  ing,     if        they  kill     you,     that        My     hap    -    pi   -   ness  is  gone :         If       you 


S 


N^4^^^^ 


p=fc 


^ 


fe^^^jW^-^ 


^s^Es 


heart      will       be     with  you,  Wher   -    ev     -     er  you       may  go,  Can     you 

win  the      day,     perhaps,  A  gen    -    er     -     al       you'll  be,  Tho'    I'm 


^i 


look      me       in       the  face.       And     say        the     same, 
proud    to      think    of  that.       What   will      be  -  come 


^ 


jt-e 


^^^^ 


Jean  -  not  ? 
of    me? 


^ut 


When     you 
Oh!  if 


i 


^    ^    ^    gir    g.^^ 


^s^^fetei^i 


»>    s    p>- 


i=f=i 


wear    the    jack  -  et   red.    And    the  beau   -   ti  -  ful    cockade,         Oh,     I     fear  you    will   for  ■ 
I        were  Queen  of  France,  Or,   still  bet    -  ter,  Pope   of  Rome,       I  would  have   no    fight  -  ing 


^^M^n^M^m 


get  All    the   prom  -  is  -  es  you've  made ;  With  your  gun  up  -  on  your  shoulder.  And  your 

men    a  -  broad.  No  weep-ing   maids  at  home ;    All  the  world  should  be  at  peace.       Or       if 


FRANKLIN-SQUARE  SONG  COLLECTION. 


I5S 


^:^ 


bay'  -  net  by     your  side,  You'll   be    tak  -  ing  some  proud  la  -  dy,    And 
kings  must  show  their  might,  Why,  let  them  who  make  the  quar  -  rels    Be 

1K= 


iH-w=^-=w-TW 


-g-V: 


-n4 


br-i» la ia liri* m- 


^     )m      W- 


be  mak-ing  her    your 
the   on-  ly    men     to 

f*  ,  ^  0  m-    "" 


I 


t^t^U: 


>— t?- 


S     N 


SF=S= 


JEE^3=i=i 


«l     «! 


f 


bride;      You'll    be    tak  -  ing    some  proud  la  -    dy,     And      be  mak 
fight ;       Yes,       let  them   who   make    the  quar  -  rels    Be        the   on   • 


ing     her     your  bride, 
ly      men       to   fight. 


g£ 


>-Jt)y- 


l==t 


i 


k     l» 


^^^ 


THEN  YOU'LL  REMEMBER  ME. 


M.  W.  Balfb. 


i 


Andante  cantabile. 


^=^ 


t 


^3 


^^^ 


g-S    ^    ^ 


^i^ 


^ 


^  ^ 


1 .  When  oth  -  er      lips     and     oth    -    er       hearts  Their  tales  of  love  shall     tell, 

2.  When  cold-ness    or       de    -   ceit    shall      slight    The     beau-ty  now  they  prize, 

.^2 


In 

And 


'^n^ 


^ 


=^t 


f 


P 


at=iat 


^H--^-^- 

W^: 


P 


S^^ 


^^^^^ 


9=^- 


7=^- 


^ 


Ian  -  guage  whose  ex  -  cess     im  -  parts       The   pow'r         they  feel 
deem   it      but       a       fad  -   ed     light       Which  beams      with -in 

m — ^- 


so     well, 
your  eyes; 


There 
When 


I       \      1        \if     1  ^ 


may,  per  -  haps,  in   such    a     scene  Some  rec-ol  -  lee  -  tion        be  Of  days  that  have  as 

hoi  -  low  hearts  shall  wear  a     mask  'Twill  break  your  own  to      see :  In   such  a     moment 

-1=2-         ^     _  -m-    ^     ^ 


^=«^ 


f-rfifrf-t 


m 


fcfc 


f=^ 


f 


hap-  py  been.  And  you'll  re -member    me.      And  you'll  remember,  you'll  remember 
I  but  ask,  Thatyou'll  re -member    me,      That  you'll  remember.you'll  remember 


me. 
me. 


.'56 


FRANKLIN-SQUARE  SONG    COLLECTION. 


"  These  musicians  are  a  queer  set ;  it  is  hard  to  please 
them;  it  is  hard  to  get  along  with  them!  "  This  and 
similar  expressions  one  hears  every  now  and  then  from 
the  lips  of  people  who  think  they  know  of  what  they 
speak.  We  will  lay  down  a  few  rules  of  etiquette  for 
tlie  benefit  of  such;  they  may  get  along  better  with 
musicians  by  learning  a  lesson  from  them.  When  you 
invite  a  musician  to  dine  with  you,  give  him  at  once  to 
understand  that  you  expect  him  to  entertain  your  com- 
pany. Any  man  of  self-respect  will  appreciate  such 
an  invitation.  If  he  comes  and  does  play,  be  sure  to 
start  a  lively  discussion  while  he  is  at  the  piano,  for 
this  is  a  compliment  that  cannot  fail  to  please  him. 
When  he  has  played  his  selections,  tell  him  how  you 


enjoyed  the  performance  of  this  or  that  great  pianist' 
or  singer,  who  perchance  performed  the  same  pieces. 
It  places  the  musician  in  a  favorable  light,  and  makes 
him  feel  comfortable,  or,  if  you  please,  enter  a  complaint 
against  the  style  of  his  music,  either  that  it  is  too  classic 
or  too  popular,  for  this  shows  that  you  are  a  man  of 
good  taste  and  judgment.  If  you  are  acquainted  among 
the  musicians  of  your  town,  criticise  those  that  are 
absent;  it  is  reasonable  to  suppose  that  he  indulges  in 
like  unfavorable  opinions  of  other  musicians  and  tiiat 
he  will  be  pleased  with  your  remarks.  If  you  have  a 
very  difficult  piece  on  hand,  ask  him  to  play  it  at  sight, 
for  what  sort  of  a  musician  is  he  who  cannot  play  every- 
thing at  sight?    When  a  musician  refuses  to  play,  keep 


CLEAR  THE  WAY. 


School  Songs. 


^^^^^m 


#=^ 


Jtzzf!r 


-^EZjd. 


*=^ 


Allegretto. 

1.  The  stars  are      fad  -  ing   from   the 

2.  The  cock  has  crowed  with  all     his 

3.  The  bell  is      ring  -  ing,  haste    a 


_jL^_f-_ai: 


sky,    The    mists  be  -  fore     the     morning    fly;  The 

might,  The    birds  are    sing  -  ing    with   de  -  light.  The 

way  ;  The  school  is       o    -  pen,  leave  off  play ;  The 


g-jL-S-g=[:g^ 


m 


fc^ 


JEz:t?=t2=t^ 


:^=t^ 


-4— tei»- 


^=-4^: 


^^^^^^ 


r=^ 


t=t 


east     is      glow -ing      with      a     smile, 
hum   of     busi  -  ness     meets  the    ear, 
sun     of    knowledge     there    we    find, 


And  na  -  ture  laughing  all  the 
And  face  to  face,  with  kind  •  ly 
A      -     ris  -  ing      on     the        youth  -  ful    mind ;  So, 


while,  Says, 
cheer,  Says, 


^-$r_J^_ 


§^^^^ 


^_j^jr_^: 


:t2=t?=t^=t?: 


g-g-g 


'^^^^ 


>^N_fc_^ 


f^H-ffrti^m 


Clear     the  way!     the    world   is      wak 


■ing,    Clear     the    way!    the    world   is 


on  asking  him,  for  his  refusal  is  only  a  pretense.  It  is 
true  you  would  not  press  a  man  to  eat  if  he  declined, 
but  then  there  isa  difference  between  eating  and  playing. 
A  musician  ought  always  to  be  ready  to  play,  no  matter 
how  he  feels.  Of  course,  you  would  not  think  of  asking 
a  lawyer  who  dines  with  you  for  an  opinion  in  a  case 
that  involves  a  lawsuit,  nor  would  you  ask  a  physician 
to  prescribe  for  your  child  while  you  socially  entertained 
him,  for  these  people  charge  for  their  professional  labor ; 
but  why  should  a  musician  refuse  to  give  you  and  your 
company  the  benefit  of  his  skill?  His  work  is  only 
play,  that's  all.  If  he  views  the  matter  from  a  different 
standpoint,  denounce  him  as  selfish  and  mean,  and  do 
what  you  can  to  injure  his  business  among  your  friends. 


When  you  expect  a  musician  to  play  for  you,  don't  take 
the  trouble  to  have  a  tuner  examine  the  condition  of 
your  piano.  What  if  it  is  out  of  tune  !  If  yon  are 
satisfied  with  discords,  the  musician  surely  ought  to  be- 
lt is  different  with  painters ;  they  must  have  good  brushes 
and  paints,  to  produce  good  pictures;  a  mechanic  must 
have  good  tools  to  do  good  work,  but  a  musician 
should  make  good  music  on  any  old  trap  of  an  organ  or 
piano,  whether  in  tune  or  not.  One  more  rule :  Every- 
body likes  to  be  treated  with  a  patronizing  air,  musicians 
especially.  Let  them  feel  your  superiority  socially  and 
financially;  treat  them  as  a  class  who  live  on  flattery, 
and  must  be  indulged  as  children.  This  is  the  best  way 
to  get  along  with  these  queer  people ! — RTarl  Mer%. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


'57 


I  HAVE  here  a  simple  apparatus  to  show  that  rapid 
and  regular  shocks  produce  a  natural  musical  note. 
This  wheel  is  milled  at  the  edge,  and  when  I  turn  it 
rapidly  so  that  it  strikes  against  the  edge  of  the  card 
fixed  behind  it,  the  notches  strike  in  rapid  succession, 
and  produce  a  musical  sound.  We  can  also  prove  by 
this  experiment  that  the  quicker  the  blows  are,  the 
higher  the  note  will  be.  I  pull  the  string  gently  at  first, 
and  then  more  quickly,  and  you  will  notice  that  the  note 
grows  sharper  and  sharper  till  the  movement  begins 
to  slacken,  when  the  note  goes  down  again.  This  is 
because  the  more  rapidly  the  air  is  hit,  the  shorter  are 
the  waves  it  makes,  and  short  waves  give  a  high  note. 
Let  us  examine  this  with  two  tuning  forks.     I  strike 


one,  and  it  sounds  C,  the  third  space  in  the  treble ;  I 
strike  the  other,  and  it  sounds  A,  the  first  leger  line, 
five  notes  above  C.  I  have  drawn  on  this  diagram  an 
imaginary  picture  of  these  two  sets  of  waves.  You  see 
that  the  A  fork  makes  three  waves,  while  the  C  fork 
makes  only  two.  Why  is  this?  Because  the  prong  of 
the  A  fork  moves  three  times  backwards  and  forwards 
while  the  prong  of  the  C  fork  moves  only  twice; 
therefore  the  A  fork  does  not  crowd  so  many  atoms 
together  before  it  draws  back,  and  the  waves  are  shorter. 
These  two  notes,  C  and  A,  are  three-fourths  of  an  octave 
apart;  if  we  had  two  forks,  one  going  twice  as  fast  as 
the  other,  making  four  waves  while  the  other  made  two, 
then  that  note  would  be  an  octave  higher. — Buckley. 


SEE  WHERE  THE  RISING   SUN 


From  the  German. 


J 


1.  See  where  the  ris  -  ing  sun,        In     splendor  decks  the  skies.     His    daily  course  be  -  gun; 

2.  Fair     is      the  face  of  morn ;      Why  should  your  eyelids  keep  Closed,  when  the  night  is  gone? 

^-^A — -^ — r^!  -r  -r.r- 


Hast    -    en,        a  -  rise ! 
Wake     from  your  sleep! 


Oh,  come  with  me  where  violets  bloom,  And  fill     the   air       with 
Oh,  who  would  slumber   in        his  bed.  When  darkness  from  his 


:Ei=|?EEf; 


sweet  perfume;  And  where,  like  diamonds  to  the  sight.  Dew-drops      spar   -  kle      brigl 
couch  has  fled,  And  when  the  lark  is  soar  -  ing  high.  And  warbling  songs     of        joy: 


1   (ROUND.) 


K'  N      IS       K       N~~^ 


m^ 


a=st 


St=i): 


m 


ii==^J  J  ^=^ 


V 


-* — ^ — •*• 


Dress    a       bad   boy     up      in     gold  -  lace   if     you   will.   And     yet  he   will  be    but     a 
3. 


^ 


^^f 


iizii: 


bad  boy       still.         And      yet        he       will 

1   (ROUND.)  1^      ^  , 


be         but 


bad 


:=!!: 


1^=^ 


'  »   ^  - 


boy     still. 
2 


g 


Itliit 


-TZt 


:g=: 


To      the    praise    of      truth,      to    the     praise   of       truth      we 


sing, 


To     the 


P=P=P-"Pc:^ 


-r-r  rrm 


i^fcir 


i 


:fei: 


fe?=t2 


J= — p — I — r  !»•< 


i^zzii 


:*=it 


praise  of    truth,  to   the  praise  of  truth   we     sing. 


For     the   truth  is    a     no  -  ble  thing. 


15S 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Inside  that  curled  part  of  the  labyrinth,  which  looks 
like  a  snail-shell  and  is  called  the  cochlea,  there  is  a 
most  wonderful  apparatus  of  more  than  three  thousand 
fine  stretched  filaments  or  threads,  and  these  act  like 
the  strings  of  a  harp,  and  make  us  hear  different  tones. 
If  we  go  near  to  a  harp  or  a  piano,  and  sing  any  par- 
ticular note  very  loudly,  we  may  hear  this  note  sounding 
in  the  instrument,  because  we  will  set  just  that  particular 
string  quivering  which  gives  the  note  we  sang.  The 
air-waves  set  going  by  the  voice  touch  that  string,  be- 
cause it  can  quiver  in  time  with  them,  while  none  of 
the  other  strings  can  do  so.  Now.  just  in  the  same  way 
the  tiny  instrument  of  three  thousand  strings  in  the 
ear,  which  is  called  Corti's  organ,  vibrates  to  the  air- 


waves, one  thread  to  one  set  of  waves,  another  to- 
another,  and  according  to  the  fibre  that  quivers,  will . 
be  the  sound  we  hear.    Here,  then,  we  see  how  nature 
speaks  to  us.     All  the  movements  going  on  outside, 
however  violent  and  varied  they  may  be,  cannot  of 
themselves  make  sound.    But  here,  in  this  little  space 
behind  the  drum  of  our  ear,  the  air-waves  are  sorted 
and  sent  on  to  our  brain,  where  they  speak  as  sound. 
The  Bible  contains  the  songs  and  prophecies  that 
burst  from  human  souls  when  the  moral  idea  first 
dawned  upon  them  in  all  its  sublime  grandeur ;  and 
those  first  expressions  of  astonishment,  enthusiasm  and : 
self-forgetful  love  have  never  been  equalled  by  any  sub- 
sequent expressions  for  freshness  and  might. — Adlar. 


THAT  DAY  THE  WORLD  SHALL  SEE. 


iA 


W.    E.    HiCKSON. 

J.  W.  Callcott. 


—4: ■    H 


— ■  =^ — *=  :*=:S — ?=?■ 


SEFJEiEEE 


3=3=1^^=3^ 


C      Lively.  \^         -^t-  ^       -0t-        -0^       ^        ~  • 

1.  May       ev  -  'ry    year  but       bring  more  near   The   time  when  strife     shall  cease.       And 

2.  Let         good  men  ne'er   of       truth  des  -  pair,  Though  humble     ef    -    forts  fail;         Oh, 


truth  and  love  all  hearts  shall  move  To  live    in       joy     and    peace.         Now  sor  -  row  reigns,  and 
give   not   o'er,  un  -  til  once  more  The  righteous  cause  pre    -  vail ;  In       vain,  'mid  long  en  - 


mn^^^^^^m 


^k 


^       ^      ^      ^      ^        1^        ^ 


^^rf^ 


^ 


%:^^i^=^^3^^§. 


*=*=iF 


earth  complains.  For   fol  -  ly      still     her  power  maintains ;  But  the  day  shall  yet    ap  -  pear, 
dur  -  ing  wrong.  The  weak  may  strive   against     the  strong ;  But  the  day  will  sure  -  ly  come, 

?i?~r~r'^~c:r^~r~g~gTCzz=:£=k 


5*     »•  ^     ^ 

"When  the  might  with  the  right    and  the  truth  shall  be,  When  the  might  with  the  right    and  the 


truth  shall  be,  And  come  what  there  may    to  stand  in  the  way.  That  day  the  world  shall  see. 


FRANKLIX-SQUARt    SONG    COLLECTION. 


'59 


AuLD  Lang  Syne  is  popularly  supposed  to  be  the 
composition  of  Burns ,  but,  in  fact,  he  wrote  only  the 
second  and  third  verses  of  the  ballad  as  commonly 
sung,  retouching  the  others  from  an  older  and  less 
familiar  song.  The  Old  Oaken  Bucket  was  written 
by  Woodworth,  in  New  York  City,  during  the  hot 
summer  of  1817.  He  came  into  the  house  and  drank 
a  glass  of  water,  and  then  said,  "  How  much  more 
refreshing  it  would  be  to  take  a  good,  long  drink  from 
the  old  oaken  bucket  that  used  to  hang  in  my  father's 
well. "  His  wife  suggested  that  it  was  a  happy  thought 
for  a  poem.  He  sat  down  and  wrote  the  song  as  we 
have  it.  Woodman,  Spare  that  Tree !  was  the  result 
of  an  incident  that  came  to  the  knowledge  of  George 


P.  Morris.  A  friend's  mother  had  owned  a  little  place 
in  the  country,  which  she  was  obliged,  from  poverty,  to 
sell.  On  the  property  grew  a  large  oak  which  had 
been  planted  by  his  grandfather.  The  purchaser  of 
the  house  and  land  proposed  to  cut  down  the  tree,  and 
Morris's  friend  paid  him  ten  dollars  for  a  bond  that  the 
oak  should  be  spared.  Morris  heard  the  story,  saw  the 
tree,  and  wrote  the  song.  Oft  in  the  Stilly  Night  was 
produced  by  Moore  after  his  family  had  undergone,  ap- 
parently, every  possible  misfortune ;  one  of  his  children 
died  young,  another  went  astray,  and  a  third  was  acci- 
dentally killed.  The  Light  of  Other  Days  was  written  for 
Balfe's  opera,  the  "  Maid  of  Artois."  The  opera  is  for- 
gotten, but  the  song  still  lives,  and  is  as  popular  as  ever. 


SMILING   MAY  COMES   IN   PLAY. 


^fe^ 


i^iza 


1 .  Smil  -  ing  May  comes  in  play      Making   all  things  bright  and  gay,  From  the  hill  come  ye     all 

2.  As      we    stray,  breezes  play,     Through  the  fairgrove's  fresh  array.  All  is  bright  to     the    sight. 


eS 


*=*=« 


^ 


^=M  f  9  r^l^ 


>-t?-ti^-U'- 


^ 


v-n^- 


^zi^=_h__^_^=jr 


^^Ei^ 


To    the   flowers  sweet  that  call ;  Fragrant  is    the    flow'ry  vale,    Sparkles  now  the  dew-bright  dale ; 
Gone  a  -  far     is  winter's  night ;   Shadows  now  all  quiv'ring  glance,  Li  the  sil  v'ry  fountain's  dance. 


Mu- sic  floats   in    soft  notes  From  sweet  warbler's  throats  Singing  merrily,  mer-ri -ly,  mer-ri -ly, 
Lisects  bright  sport  in  light,  Charming      to  the  sight;  Sporting  merrily,  mer-ri -ly,  mer- ri  -  ly, 


i=:i=fc=f=^=rS=S=fe^ 


-^-=^'- 


^-^stmm 


-t^— ^- 


^r^ 


m^^^^^^^. 


*ii3 


Singing  merri-ly,    merri-ly,    merri-ly,    Mu  -  sic  floats    in  soft  notes  From  sweet  warbler's  throats. 
Sporting  merri-ly,    merri-ly,    merri-ly,    Insects  bright  sport  in  light,  Charm -ing     to    the  sight. 


Here  we  stand. 

Hand  in  hand. 
Ready  for  our  exercise ; 

Heads  upright. 

With  delight 
Sparkling  in  our  laughing  eyes ! 

Singing  cheerily, 

Cheerily,  cheerily, 
Clapping  merrily,  merrily,  merrily. 

One,  two,  three. 

Don't  you  see 
\Vhere  scholars  love  to  be  ? 


[  Or  this  Movement  Song.l 

Right  hand  up. 

Left  hand  up ; 
Whirling  see  our  fingers  go ! 

Folded  now. 

Let  us  bow 
Gently  to  each  other  so ! 

Eastward  point, 

Westward  point ; 
Left  hand  Nadir,  Zenith  right; 

Forward  fold, 

Backward  fold; 
Arms  akimbo,  chest  upright ; 


Seated  now. 

Smooth  your  brow. 
Then  drum  lightly  on  your  crown 

Oh,  what  fun ! 

Every  one 
Driving  off  each  surly  frown ! 

Quickly  stand, 

Lungs  expand, 
Backward  let  our  shoulders  go ! 

Life  and  health. 

Comfort,  wealth. 
We  can  thus  improve,  you  know. 


i6o 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Military  Music. — The  origin  of  military  music 
takes  us  back  to  remote  anticjuity.  Every  nation  in 
ancient  times  had  its  peculiar  instruments  of  music, 
and  its  national  songs.  These  songs  invariably  refer 
to  victories  gained,  battles  fought,  sieges  carried  on, 
or  the  services  of  some  individual  hero.  The  name 
of  the  soldier  or  officer  who  had  done  some  deed  of 
renown  stood  beside  that  of  the  general  who  com- 
manded. With  the  Spartans,  the  song  Castor  was 
the  signal  for  combat;  the  Romans  took  cities  to  the 
sound  of  the  trumpet  and  the  horn;  the  Egyptians, 
Arabians  and  ancient  Germans  went  to  battle  to  the 
beating  of  drums,  the  sound  of  the  flute,  the  cymbal 


and  the  clarion.  In  ancient  times  and  among  differ- 
ent people,  each  instrument  had  its  peculiar  use.  The 
Chinese,  in  their  war  music,  employed  bells  and 
triangles.  With  the  Romans,  the  trumpet  indicated  the 
assembling  of  the  troops,  the  bugle  announced  the 
coming  of  the  general,  and  the  horn  gave  the  signal 
of  retreat.  It  was  to  the  noise  of  these  instruments 
combined — discordant,  shrill,  deafening — that  they 
threw  themselves  upon  the  ranks  of  the  enemy. 
Among  the  Egyptians,  bells,  in  conjunction  with  tim- 
brels, served  to  form  a  species  of  military  harmony. 
The  Hebrew  soldiery  employed  the  horn,  the  trum- 
pet, the  timbrel  and  the  sackbut,  an  instrument  some- 


NEVER  SAY  FAIL. 


School-Day  Singer. 


m^mi 


it 


^ 


:^^ 


-^ 


m 


1^=^ 


^i-J-Zi 


^i^^ 


1.  Keep  work-ing, 'tis  wis-er  than     sit-ting    a-side;     Nev-er,   oh,  nev  -  er  say      fail! 

2.  In      life's  ros  -  y  morn-ing,  in    manhood's  fair  pride,  Nev-er,   oh,  nev-er  say      fail! 


And  dreaming,  and  sigh-ing,  and  wait- ing  the  tide;      Nev-er,     oh,  nev-er     say       fail! 
Let     this  be  your  mot -to,  your  foot-steps  to  guide,    Nev-er,     oh,  nev-er     say       fail! 


In  life's  earn  -  esc     bat  -  tie     they  on  -  ly      pre  -  vail.  Who  dai  -  ly   march   on  -  ward  and 
In  storm  and     in     sun  -  shine  what- ev  -  er        as-  sail.  Push  on  -  ward    and    con  -  quer,  and 


:^r->ri^-> 


— P P P F= ^ P       I    .       I 

g  g  g— ^  g  3 '  J  ^ 


nev-er  say  fail !     Nev-er  say  fail!     Nev-er   say    fail!      Nev-er,    oh,  nev  -  er  say    fail! 
nev-er  say  fail!     Nev-er  say  fail!     Nev-er   say    fail!      Nev-er,    oh,  nev  -  er  say    fail! 


m-^ 


% 


f-S-f 


i 


i=:p=^ 


fe^i±: 


^ 


W-^ 


¥—^- 


1/   k 


•what  resembling  the  trombone.  The  music  attached 
to  the  Roman  legions  had  made  much  progress  at  the 
time  of  the  conquest  of  the  Gauls;  but  dating  from 
this  epoch,  it  became  more  and  more  feeble.  The 
soldiery  of  France  received  and  preserved  the  clarion 
and  trumpet  of  Caesar's  armies,  but  the  custom  of 
making  use  of  music  was  insensibly  lost.  At  the 
commencement  of  the  Middle  Ages,  the  mstruments 
handed  down  and  preserved  were  useful  merely  in 
Tallying  the  soldiers,  calling  them  to  battle,  and  mak- 
ing them  endure  with  gayety  the  fatigues  of  a  march. 
At  this  time,  the  method  of  the  Romans  had  entirely 
disappeared.      About  this  period,  the  French  min- 


strels began  occasionally  to  accompany  the  troops  to 
battle.  Their  instruments  were  the  rebec,  a  little 
three-stringed  violin,  bagpipe,  and  flute  or  pipe. 
About  the  year  1330,  they  began  to  use  the  clarion, 
an  instrument  derived  from  the  Moors,  who  trans- 
mitted it  into  Portugal  from  Africa.  The  comet, 
another  war  instrument  of  the  ancients,  made  its  re- 
appearance about  the  same  time.  It  was  about  this 
time,  also,  that  the  adventurous  Italian  bands  recov- 
ered the  usage  of  military  music,  which  soon  spread 
among  the  other  nations  of  Europe.  To  the  drums  and 
trumpets  they  joined  the  flute,  fife  and  pandean  pipe 
The  drum  was  played  with  a  single  stick, — Moore. 


FRANKLUSr-SQUARE   SONG    COLLECTION. 


i6i 


AWAY  TO    SCHOOL. 


5^ 


:^5=4^ 


>    h 


-^  -^1 I 


German  Air. 


^^ 


m 


^ 


^=it 


sEg 


3S^ 


^=^it=t^ 


«^=it 


"1/  / 

1.  Our  youth-ful  hearts  for  learn-ing  burn;  A  -  way,  away  to  school;  To     sci-encenow  our  ■ 

2.  Be  -  hold    a     hap  -  py  band   ap- pears;  A  -  way,  a-\vay  to  school;  The  shout  of    joy    now 

3.  No    more  we  roam    in        i  -  die    play ;   A  -  way,  a-way  to  school ;  In     stu  -  dy    now    we 


m 


steps  we  turn;  A  -  way,  a-way  to  school.  We  turn  from  home  and  all  its  charms.  And 
fills  our  ears;  A  -  way,  away  to  school.  Our  voi  -  ces  ring  in  mus  -  ic  sweet,  When 
spend  the  day;  A  -    way,     a-way    to     school.       U    -     ni  -  ted     in      a      peace- ful  band,  We're 


leave  our  pa -rents'   lov-ing  arms;  j 

with  our  friends  in  school  we  meet;  >  Away  to  school,  a  -  way  to  school,  A-way,  a-way  to    school. 

Join'd  in  heart,  we're  join'd  in  hand ;  1 


MUSIC  EVERYWHERE. 

JVot    too  slo'M. 


S.  W.  Foster. 


s^Slte 


1.  Mu-sic  in  the    val  -  ley,  Mu-sic  on  the    hill,  Mu-sic    in  the  woodland.  Music  in    the  rill; 

2.  Mu  -  sic  by  the  fire-side,  Mu-sic  in   the   hall,         Mu-sic   in  the  school-room,  Music  for  us  all; 

3.  Sing  with  joyful  voi-  ces,  Friends  and  lov'd  ones  dear,  Let  no  jarring  discord  E  v  -  er  en  -  ter  here ; 


=§ 


^IP^^ 


Mu  -  sic  on  the  mountain,  Music  in  the  air, 
Mu-sic  in  our  sor-row,  Music  in  our  care, 
Join  the  happy   cho  -  rus   Of  all  na-ture  fair, 


Mu-sic  in  the  true  heart,  Music  ev-'ry  where. 
Mu-sic  in  ourglad-ness,  Music  ev-'ry  where. 
Swell  the  glorious  an-them,  Music  ev-'ry  where. 


II-L 


l62 


FRANKLIN-SQUARE   SONG    COLLECTION. 


TROIKA,  RUSSIAN  DRIVER'S  SONG. 


Carl  Matz  Arr. 


ttino.  ^        ^      'rYi    L^ 


Andantino.  "^        ""     ^g;  ;2l  ~~^'P   ^ 

1.  The  post-house  lamp  had  died  away,  And    in     the    fire    ex-pir'd  the  light;  Strange  visions 

2.  Three  no-ble  hor  -  ses  s\vift-ly    fly,     A  -  long  the  smooth  broad  road  they  go ;  The  bell,  the 


o'er     my  fan-cy      play,  And  sleep  o'ertakes  my  wea-ry    sight,  Strange  visions  o'er   my    fan  -  cy 
gift      of  our  Val  -  dai.  Sounds  mournfully  beneath  the  bow.  The  bell,  the    gift     of     our  Val 


TT^ 


play,    And  sleep  o'ertakes  my  weary  sight :  A   youthful  dri  -  ver,  roused  at  night,  Seemed  in  a 
dai,      Sounds  mournfully   beneath  the  bow.  The  youth  had  said  his  last  fare-well,  And  mad- ly 


^^ 


dream,       and  slow  -  ly     moved;  He  sang   of      eyes        so   beaming     bright.    The  beauteous- 
now  pur-sued    his      way;      Yet  loud  -  er      than        the    tinkling        bell        You  still  might 

m-^ «g    "l~      !  ,  V  • 'S—-^ ^      I    m    .—:m—m m      .     I*-- 0       0      0 


:r=^ 


--^■■=^-==H 


^ 


:p=C: 


iEE 


i^i 


f±z^ 


1^=g=g: 


^    ^     ^ 


eyes     of    her  beloved, "Oh, those  blue  eyes,thoseeyesof  blue, They've  brokeagallant  spir- it's, 
hear     his  plaintive  lav,    "Oh,  those  blue  eyes, those  eyes  of  blue, They've  broke  a  gallant  spir- it's 


^    ^    ^ 


p^^^id^^M^^ 


3^=r=5 


;     Oh  I     cru   -   el      fate,  'twas  hard      of      you.     To     tear 

,- P « 0 •—^Jt--—^M~0—Xm—^^^—m _ . 


sun  -   der  hearts  like 

0—0- 


^ 


mjD 


FRANKLIN-SQUARE  SONG   COLLECTION. 

-    ^    -ft- 


163 


^m 


:i-%M- 


^^ 


^S 


J    *^ 


these! 


^., 


-g-   ^   ^  "^ 


cru  -  el       fate, 'tA¥as  hard   of    you,     To    tear     a  -  sun-  der  hearts  like  these!" 


WHEN  STARS  ARE  IN  THE  QUIET  SKIES. 


Edward  Lytton  Bulwer. 


^?i^^ 


a^^=g 


P 


ig^ 


1.  when    stars      are      in 

2.  There      is         an      hour 

3.  The    thoughts    of     thee 


T 


the        qui    -  et     skies,   Then  most       I       pine        for 
when      an   -  gels  keep    Fa  -  mil    -  iar    watch     on 
too        sa    -  cred  are     For    day  -  light's  com    -   mon 


i^ 


■z-:^-^- 


4    '^ 


-li— K- 


:^=±=tt 


#^ 


^^^ 


^3E 


V^SJ.  ^ 


^5=^ 


thee; 
men, 
beam; 


1^ 

Bend    on        me  then  thy  ten  -  der  eyes, 

When  coars  -  er  souls  are  wrapped  in  sleep, 

I          can      but  know  thee  as      my  star. 


As  stars  look  on  the 
Sweet  spir  -  it,  meet  me 
My        an    -    gel,    and    my 


sea!  For  thoughts,  like  waves  that  glide    by       night, 

then.  There   is        an    hour  when  ho   -  ly        dreams 

dream!      When  stars    are      in      the     qui  -  et       skies, 


Are  still  -  est  when  they 
Thro'  slum  -  ber,  fair  -  est. 
Then     most       I     pine      for 


m  ^^f"  T  f^  T  f- 
r  r»  •  L   L   L    ^ 


:?=: 


m 


^ 


fsm  {■'   ^ 


? 


=S^==tr 


-*s>- 


^r~^^ 


^^■Qijj7ii, 


?s 


shine;        Mine  earthly 
glide,         And    in    that 
thee;         Bend  on    me 


'^J'     ^g  "g  S  I  ^ 


love      lies  hush'd  in  light 

mys       tic  hour      it         seems 
then     thy  ten   -   der        eyes, 


Be  -  neath  the  heav'n  of 
Thou  shouldstbe  by  my 
As      stars     look  on       tlie 


g  a  g  I  g  '-IFt 


:-0 


-i f*- — ^   w w-\ — w- 


fyi\k-^H 


^      -»--#:  i 


thine.  Mine  earthly  love 
side,  And  in  that  mys 
sea,      Bend  on    me  then 


lies  hush'd  in        light 

tic  hour     it         seems 

thy  ten  -  der      eyes, 


Beneath    the  heav'n  of  thine. 

Thou  shouldstbe  by  my  side. 

As     stars   look  on   the  sea. 


=£ 


i 


P 


-m  I  *- 


r-^ 


m 


¥ 


t64 


FRANKLIN-SQUARE   SONG    COLLECTION. 


EVANGELINE. 


^ 


=^■=£1? 


Will  S.  Hays, 
By  per.  S.  Brainard's  Sons. 


^ 


^=W^ 


>-r 


=s=?=^ 


:u-*uj  =r 


1.  Sweet  E  -  van  -  geline,       My  lost  E  -  van  -  geline,       We  have  lived  and  loved  each  other 

2.  I      am      lonely  now,      My  dear  E  -  van  -  geline,       The         days  are  long,  the  nights  are 

-m-   -it-    K 


^Ee 


-f-f- 


^=ept^^^—r^.-ff^-^i% 


V'Z"Z\z  gr 


^  >  ^ 


^ 


—I g     J      u (- 


^ 


:^=^=S: 


33^ 


;*=^ 


^^^^^^-g^i 


m^ 


fond  and  true,  Ev  -  er        true    to     thee,      tho'  far     a     -     way  I've  been,  My 

sad    and  drear.  And  how  changed,  a  -  las  !       each  well  re  -  membered  scene.  Since 


m 


^ 


3^=it 


:.M 


^=m^ 


h^^ 


.J— J— s 


2± 


? 


:J=^_*U-^^*i^ 


:t:-!i 


T 

heart      has     ev  -  er     dwelt  with  you, 
you        and      I     were     sit  -  ting  here. 


But      O, 
A    -  las! 


those  hap  -  py     days    will 
you    nev  -  er  -  more    will 


^^^¥=^- 


:!■=)■: 


S 


i^zzt 


£ 


^ 


4^=4?: 


i?^ 


i 


ril. 


1^ 


:p=Qp: 


a  tempo. 


W 


? 


:Ee 


5=^ 


i^: 


f 


ne'er  re  -  turn,         Those     hap 
smile  on  me.  And      life 


-t F- i^ 


^      L^      i/      l^      1^        ' 

py    days    that    we     have       seen, 

is      now     a       sad,     sad      dream, 


i! 


FH*-F=^ 


For 
I 


^ 


-o- 


i^ 


-^ — i^ 


=fc^ 


n  d  ••  sLj^^^j-t^-^ j— f 


-#-^3g 


^^iU^ 


— f^ — l^^l—^ 


:Strit 


m 


--F^ 


I  am  left        to      weep  a  -    lone,  My      sweet  E  -    van 

lived      to    love      none  else    but     thee,  My      sweet  E  -    van 


^§ 


^i 


>— ^=1*: 


ge  -  line* 
ge  -  line. 


V   k   r   r 


^ 


? 


^ 


Oh!  how  sad  we've  been,  lost  E  -  van  -  ge-line,  Since  we  laid  thee  where  the  sweetest  flowers 


FRANKLIN-SQUARE   SONG    COLLECTION. 


x6s 


:ft=q^ 


9^<^  d 


^i^^^ 


=JF 


wave, 
_l 


And  the  an  -  gels  bright. 


^^ 


Robed  in    spot -less  white,  Are 


-<#      •< 


:^=p=p:zzM=?2; 


^=^ 


=f~rr-r 


She    is   gone, 


yes,    she      is       gone, 
I 


yes!    she       is  gone. 


watching  o'er   thy  green  and  mos  -  sy   grave. 

.m--m-:-0-:-m-^^'f^'^-^ 


E  -  van  -  geline,  E  -  van  -  geline,  E 


i 


I 


y-± 


=^=P=pr 


m^ 


j»— v»- 


If 


-^— ^ 


i*    k: 


1/      ^ 

Unto. 


V    ^    ^    ^^ 

E  -  van     ge  -  line. 


^ 


^ 


r  J  ^ 


^=* 


:2^ 


-^- 


m"g" 


r?=* 


ge  -  line,  E  -  van  -  ge  -  line. 


^^^=^ 


5^ 


ipp 


To        the     si    -    lent  grave. 


^^i 


^ 


=^ 


^ 


She's     gone, 


■>— ti»- 


OVER  THE   MOUNTAIN   WAVE 


1.  O  -  ver  the  mountain  wave  See  where  they  come;  Storm-cloud  and  wint'ry  wind  Welcome  them  home; 

2.  Dim  grew  the  for  -  est  path,  Onward  they  trod ;  Firm  beat  their  noble  hearts,  Trust  -  ing  in    God ! 

3.  Not  theirs  the  glory-wreath.  Torn  by  the  blast ;  Heav'nward  their  holy  steps,  Heavenward  they  passed. 


^^f^y^^ 


W~f  k  1^ 


^ 


^M^ 


y  u*  i^~t? 


tz=t2: 


^V-4-^ 


^ 


\^  ^ 


:it=it: 


^ 


^ 


^m 


j^j-^ 


■^ 


Yet  where  the  sounding  gale  Howls  to  the  sea,  There  their  song  peals  along.  Deep-toned  and  free 
Gray  men  and  blooming  maids.  High  rose  their  song.  Hear  it  sweep,  clear  and  deep.  Ever  a  -  long 
Green    be  their  mos-sy  graves,  Ours  be  their  fame.  While  their  song  peals  along  Ever  the  same 


m.  r  rrt^^^ 


^  ^  ^ 


^ 


m 


t=t 


^2=  UK 


r^ 


f 


S=V: 


=f 


;^=!1 


^  u 


^  k 


Chorus 


^ 


^^^ 


E^ 


SE3: 


v-?- 


Pilgrims  and  wanderers,  Hith  -  er     we  come;  Where  the  free  dare  to  be.  There  is     our  home 


fczif: 


U*    k 


i66 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Life-Sounds. — We  think  for  a  moment  of  life- 
sounds,  of  which  there  are  so  many  around  us.  Do 
:you  know  why  we  hear  a  buzzing,  as  the  gnat,  the 
■bee,  or  the  cockchafer  fly  past?  Not  by  the  beating 
of  their  wings  against  the  air,  as  many  people  imagine, 
and  as  is  really  the  case  with  humming  birds,  but  by 
the  scraping  of  the  under-part  of  their  hard  wings 
against  the  edges  of  their  hind-legs,  which  are  toothed 
like  a  saw.  The  more  rapidly  their  wings  are  put 
in  motion  the  stronger  this  grating  sound  becomes. 
Some  insects,  like  the  drone-fly,  force  the  air  through 
the  tiny  air-passages  in  their  sides,  and  as  these  pas- 


sages are  closed  by  little  plates,  the  plates  vibrate  to 
and  fro  and  make  sound-waves.  All  these  life- 
sounds  are  made  by  creatures  which  do  not  sing  or 
speak ;  but  the  sweetest  sounds  of  all  in  the  woods  are 
the  voices  of  the  birds.  All  voice-sounds  are  made 
by  two  elastic  bands  or  cushions,  called  vocal  chords, 
stretched  across  the  end  of  the  tube  or  windpipe 
through  which  we  breathe,  and  as  we  send  the  air 
through  them  we  tighten  or  loosen  tliem  as  we  will, 
and  so  make  them  vibrate  quickly  or  slowly  and  make 
sound-waves  of  different  lengths.  But  if  you  will  try 
some  day  in  the  woods  you  will  find  that  a  bird  can 


JUANITA. 


Spanish  Melody. 
Words  by  Mrs.  Nortoh. 


mf 

1.  Soft      o'er  the  fountain, 

2.  When    in  thy  dreaming, 


Ling'ring  falls      the   south-em  moon;  Far 
Moons  like  these  shall  shine   a -gain,     And 


o'er  the  mountain 
daylight  beaming. 


^^"C'.C-p-ip 


-r  •  r  ir 


U^bsk 


s 


v-f 


•^  I)* 


^^ 


gU^^:  -JXt*^ 


^ 


ii* 


Breaks  the  day      too  soon!        in  thy  dark  eye's  splendor,  Where  the  warm  light  loves  to  dwell. 
Prove  thy  dreams  are  vain.      Wilt  thou  not,    re  -  lent-ing,      For  thine  ab  -  sent  lov-ersigh. 


P^^ 


^ 


^ 


t^— t^ 


^     »* 


^^M 


^ 


A  tempo. 


^=%L 


i^d-^=^ 


A \- 


i=^^ 


SEif 


-f 


Wea-ry  looks,  yet  ten  -  der.      Speak  their  fond  fare -well!        Ni  -   ta!      Jua 
In      thy  heart  con  sent -ing         To       a  prayer  gone  by?  Ni  -  ta!      Jua 


ni  -   ta!  * 
ni  -   ta! 


m 


(»    |<C? 


m 


?^S 


Tenderly,    rii. 


m 


*^ 


*=* 


T 


i 


f^^*? 


TStf-ifr 


Upb 


Ask  thy  soul     if    we  should  part !  Ni  -  ta !    Jua  -   ni  -  ta !      Lean  thou  on     my  heart 
Let    me  lin  -  ger    by    thy  side !      Ni  -  ta !     Jua   -   ni   -   ta !       Be     my  own    fair  bride  I 


surpass  you  over  and  over  again  in  the  length  of  his 
note ;  when  you  are  out  of  breath  and  forced  to  stop 
he  will  go  on  with  his  merry  trill  as  fresh  and  clear 
as  if  he  had  only  just  begun.  This  is  because  birds 
can  draw  air  into  the  whole  of  their  body,  and  they 
have  a  large  stock  laid  up  in  the  folds  of  their  wind- 
pipe, and  besides  this  the  air-chamber  behind  their 
elastic  bands  or  vocal  chords  has  two  compartments 
where  we  have  only  one,  and  the  second  compart- 
ment has  special  muscles  by  which  they  can  open  and 
shut  it,  and  so  prolong  the  trill.  Only  think  what  a 
rapid  succession  of  waves  must  quiver  through  the 


air  as  a  tiny  bird  agitates  his  little  throat  and  pours 
forth  a  volume  of  song !  The  next  time  you  can  do 
so,  spend  half-an-hour  listening  to  him,  or  to  the  canary 
bird  as  he  swings  in  his  cage,  and  try  to  picture  to 
yourself  how  that  little  being  is  moving  all  the  atmos- 
phere around  him.  Then  dream  for  a  little  while 
about  Sound,  what  it  is,  how  marvelously  it  works 
outside  in  the  world,  and  ins'de  in  your  ear  and 
brain ;  and  then,  when  you  go  back  to  work  again, 
you  will  hardly  deny  that  it  is  well  worth  while  to 
listen  sometimes  to  the  voices  of  Nature  and  ponder 
how  it  is  that  we  hear  them. — Miss  A.  R.  Buckley 


FRANKLIN--SQUARE   SONG    COLLECTION. 


t6f 


THE  BLUE  ALSATIAN  MOUNTAINS. 


Stephen  Adams. 
Claribel,     C.  Matz  Arr. 


fei 


M 


^^ 


W 


^ 


i 


^=t 


-#— #^- 


^iJU 


Ea 


Not  too  slow.  I  I       "■  "s..^^     I 

1 .  By  the  blue  Al  -  sa  -  tian  mountains  Dwelt  a  maiden  young  and  fair,  Like  the  careless  -  flow  -  ing 

2.  By  the  blue  Al  -  sa  -  tian  mountains  Came  a  stranger  in   the  Spring,  And  he  lin-ger'd  by       the 

3.  By  the  blue  Al-  sa-tian  mountains  Manyspring-timesbloom'dandpass'd,Andthemaiden  by  the 

-^  ■♦-  -^       -^.  -^^  -p--^  A. 


^^^^^^Nr^^in^ 


fountains  Were  the  rip  -  pies  of    her    hair.     Were  the  rip  -  pies   of   her  hair;  An-gel 

foun-tains  Just  to    hear     the  maid-en    sing.      Just    to    hear     the  maid-en  sing;  Just  to 

foun-tains,  Saw  she  lost    her  hopes  at    last.        She  lost  her    hopes  at  last.  And  she 


mild  her  eyes  so  win-ning,  Angel  bright  her  hap  -  py  smile.  When  be-neath  the  fountains  spin- 
whis-per  in  themoonlight.Wordsthesweetest  she  had  known.  Just  to  charm  a  -  way  the  hours, 
withered  like    a   flow -er  That  is    wait -ing  for    the  rain,       She    will  never   seethe  stranger. 


ning,You  could  hear  her  song  the  while 
Till  her   heart  was  all   his   own. 
Where  the  fountains  fall  a    gaiii. 


A-de,  A -de,  A  -  de, 
A-d6,  A-de,  A-  de, 
A-de,   A-d6,    A-  d6, 


$=^ 


i 


:t^ 


l=f#=^ 


^ 


fce 


^rpzpip 


^ 


Such  songs  will  pass  away, 

Such  dreams  may  pass  away. 

The  years  have  passed  away, 


?=# 


e 


P 


ill  -^11  Chorus. 


Tho'  the  blue  Al-sa-tian  moun-tains  Seem  to  watch  and  waitalway. 

But  the  blue  Al  -  sa-tian  moun-tains 

But  the  blue  Al  -  sa-tian  moun-tains  Seem  to  watch  and  wait  al  way 


Seem  to  watch  and  waitalway.  1 

Seem  to  watch  and  wait  alway.  >     A-d6,   A-d6,    A-de 

Seem  to  watch  and  wait  alway.  >     [A  -  day,] 


rir  [i^qFrrir  n  wr  Tr^-HT-tfH^--Rr 


KE 


'^nw4^ 


f 


i\i  lyl  ^^ijf+ilT^lf  giPlJ  i  ^\U  i\l^ 


Such  songs  will  pass  away,    Tho'  the  blue  Alsa-tian  mountains  Seem  to  watch  and  wait  alway. 


/iffifrgifpticte 


■■^>-' 


ff 


i 


^ 


acis: 


m 


i68 


FRANKLIN-SQUARE   SONG    COLLECTION. 


JOHNNY  SANDS 


m/3  i^  ^ '  "r 

I.   A  man  whose  name  was  Johnny  Sands,  Had  married  Betty  Hague,  And  though  she  brought  him 
2."For  fear  that  I    should  cour-age  lack,  And   try  to     save  my    life.        Pray,  tie  my  hands  be- 


gold   and  lands, She    proved  a  ter-ri-ble    plague;      For,  oh,    she  was     a  scold  -  ing  wife.  Full 
hind   my  back,"  "I      will,"  re  -  plied  his   wife.  She  tied  them  fast,   as  you  may  think.  And 


-m *— ^ m- 


4^-*- 


f^=5^ 


I 


m m- 


fcfc 


1 


i 


^:^r=^ 


f 


r-gT-r 


«=« 


of       ca  -  price  and  whim.        He  said    that  he    was  t'red    of    life.  And  she   was  tired  of 
when  se  -  cure  -  ly      done,     "  Now  stand,"  she  says, "  upon     the  brink.  And  I'll  pre -pare  to 


m 


^=5=i:=ff=RS=5^ 


^ 


f 


:tz=|: 


^^ 


^ 


mp 


:i=S: 


f 


him,       And 
run.       And 


-^ 


she    was  tired    of     him, 
I'll     pre  -  pare    to      run, 

P  r-  -r  .^  ■ 


And 
And 


she      was  tired     of        him;  Says 

I'll      pre  -  pare      to       run."  All 

r-  -r 


^^ 


at 


^ 


f 


M^ 


^^^^^^ 


: 


6 


s?* 


will  drown  myself.  The  riv   • 
his     lov  -  ing  bride  Now  ran 


e,"Then  I 
down  the  hill 


er  runs    be-  low;"        Says  she, "  Pray  do,  you 
with  all    her    force,         To  push  him  in —  he 


^^ 


^H^ 


iM^ 


t± 


m 


sil  -  ly      elf,       I  wished  it  long     a  -  go." 
stepped  aside,  And  she     fell   in,      of  course 

-m — m-^m — -  .-    ,. ^- 


Says        he,  "  Up  -  on     the  brink  I'll  stand,  Do 
Now    splash  -  ing,  dash-ing,  like      a     fish, "Oh, 


FRANKLIN-SQUARE   SONG    COLLECTION. 

hi       h  J     f* — '- K    J^ — V 


I69U 


^ '        'I 

you    run  down  the     hill,         And  push    me    in     with  all   your  might."  Says  she, "  My  love,  I 
save   me,  John- ny     Sands."  "I    can't,  my  dear,  tho"  much    I  wish,    For   you  have  tied    my 


will,"     Says 
hands.   For 


she,    "My     love,      I      will,"      Says      she,  "My    love,      I        will." 
you      have    tied      my  hands.      For       you      have  tied      my       hands." 


S 


1*^  -T- 


t 


--r  -r    r  .^ 


fc=t 


^w=^^ 


& 


f^ 


WE'D   BETTER   BIDE  A  WEE. 


Claribel. 


^^=t^MEU^^^^^^^^^0 


'■%-  -J- -9-  S^ 

1.  The     puirauldfoik    at  hame,  yemind,Are  frail  and  fail -ing     sair.       And     weel    I  ken  they'd! 

2.  When  first   we  told  our     sto  -  ry,  lad.  Their  bless-ing  fell   sae     free,       They   gave  no  thought  to 

3.  I         fear  me,  sair,  they're  failing  baith,  For  when  I    sit      a  -  part,     They'll  talk  o'Heav'nsae 

mf 


:p=p: 


E 


P=FP==pE=p: 


r  ^'1     ^  uT>T 


M: 


? 


^m=^ 


k  k   i* 


:& 


i 


g 


miss   me,  lad,  Gin      I    came  hame  nae  mair. 
self     at     all,  They  did    but  think   of     me, 
earn  -  est  -  ly,     It     well-nigh  breaks  my  heart ! 


P 


k4# — P=*= 


The  grist   is    out,     the  times  are  hard.  The 

But,  lad  -  die,  that's  a     time     a  -  wa,  And 

So,    lad  -  die,  din  -  na    urge  me  mair,   It 


i^i^jE 


p 


^ 


\m    0- 


:^=± 


■^T" 


$ 


i 


?^=> 


f&Td^i  J  yttia=gs:i=g 


^ 


^ 


kine      are    on    -   ly      three, 
mith  -  er's   like      to      dee 
sure  -   ly     win  -  na      be 


ree,   S 

:•  I 


*^^=^*-r* 


I    can  -  na    leave  the  auld  folk  now,  We'd  bet-ter  bide    a 


•r-r 


^ 


m-\*    \    i 


^ 


^  p  c 


m^ 


^ 


^t^^it^: 


^ 


jp — w- 


££ 


i 


i 


?i^ 


S^ 


cr— *z:^ 


g 


I      can-na   leave    the  auld  folk  now.  We'd  bet-ter  bide      a      wee. 


Vt- 


k    k 


fcfcf: 


^e^ 


«yo 


FRANKLIN-SQUARE   SONG   COLLECTION. 


The  greatest  privilege  of  a  city  life  seems  to  be  its 
musical  opportunities.  In  the  cultivated  or  moun- 
tainous country  a  banquet  is  provided  for  the  eye.  And 
•there,  too,  we  can  have  intellectual  pleasures — com- 
munion through  boo"<s  wi^h  the  best  minds,  thoughts, 
.and  experiences  of  our  own  age  and  history.  The  city 
Alone  can  give  us  a  chorus, a  sublime  organ,  and  an 
orchestra.  In  these  some  of  the  rich  and  manifest  ad- 
vances of  modem  over  ancient  civilization  are  summed 
«p.  .  .  .   Perhaps  there  is  a  music  of  the  spheres,  but 


we  can  only  imagine  it — we  know  nothing  of  it.  I 
have  sometimes  thought  that  if  a  blind  spirit  could  be 
supported  in  space  so  as  to  hear,  as  this  globe  rolled 
by  him,  the  notes  that  are  borne  on  it — the  myriad- 
voiced  melody  of  birds,  the  sweeping  of  winds  over 
all  the  zones,  and  the  sheets  of  sound,  now  sombre, 
now  cheerful,  they  waken  from  the  forests  which  they 
stir ;  the  low,  lisping  penitence  of  the  peaceful  sea,  and, 
through  all,  the  thunderous  mellow  bass  of  the  stirred 
ocean,  beating  on  a  thousand  leagues  of  rock — that 


KELVIN    GROVE. 


ritard. 


Thomas  Lvle. 


Where  the  rose  in  all  its  pride,  Paints  the  hoi  -  low  din  -  gle 
Where  the  glens  re  -  bound  the  call,  Of  the  lof  -  ty  wa  -  ter 
There      the  May     pink's  crim  -  son  bloom     Sheds     a     soft     and  sweet     per 


side, 

fall, 

fume. 


m. 


^^-- 


£ee^ 


i 


m 


m 


^ 


ritard. 


-^ — n-^ 


S^  4.    s^    ^ 


Where      the    mid   -    night        fai    - 
Thro'        the   moun  -  tain's      rock 
Round      the     yel     -    low        banks 


y 

of 


glide,  Bon  -  nie      las  -    sie        O! 

hall,  Bon  -  nie      las  -    sie        O! 

broom,  Bon  -  nie      las  -    sie        O! 


W 


-m-  -m-      -m- 


w=m=z-^ 


spirit  might  imagine  it  was  a  mighty  organ  rolling  by, 
touched  on  every  key,  alive  in  every  «top,  and  aroused 
by  every  pedal  to  the  praise  of  God.  The  highest 
music  is  religious.  And,  in  speaking  of  orchestra,  organ 
«nd  chorus,  as  supplying  the  supreme  civilized  privilege 
of  the  city,  let  me  go  further  and  express  my  belief  that 
the  greatest  fortune  that  can  befall  a  person  in  the  line 
of  art  is — more  than  seeing  Rubens'  picture  of  the 
Descent  from  the  Cross,  or  Titian's  Assumption,  or  Da 
Vinci's  Last  Supper,  or  Raffaelle's  Transfiguration,  or 


the  Dresden  Madonna — to  hear  Handel's  ''  Messiah," 
when  it  is  given  with  a  competent  combination  of  power 
and  gifts.  I  always  wonder,  when  I  hear  that  oratorio, 
that  in  every  city  a  grand  cathedral  sers'ice  is  not  made 
out  of  it,  or  of  selections  from  it,  once  a  month,  certainly 
every  Christmas — that  the  promise  of  Christ,  and  the 
blessedness  of  his  grace,  and  the  beneficence  of  his  reign, 
and  glory  of  his  triumph,  may  have  fit  interpretation 
in  words  and  in  ways  that  oversweep  the  petty  divi- 
sions of  catechisms  and  creeds. — Rev.  T.  Starr  King. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


171 


'Unison. — When  notes  from  any  two  sources  are 
in  unison,  they  are  produced  by  the  same  number  of 
vibrations.  If  the  string  of  a  violin,  the  cord  of  a 
guitar,  the  parchment  of  a  drum,  the  pipe  of  an  organ, 
produce  the  same  musical  tone,  it  is  because  the  vibra- 
tions in  all  are  performed  in  equal  times.  If  a  voice 
and  a  piano  execute  the  same  music,  the  steel  strings 
of  the  piano  and  the  vocal  cords  of  the  singer  vibrate 
together  and  send  out  sound-waves  of  the  same  length. 


In  order,  then,  to  determine  the  number  and  length  of 
the  sound-waves  produced  by  a  sonorous-  body,  we 
have  only  to  bring  its  sound  and  that  of  the  siren,  an 
instrument  for  determining  the  number  of  vibrations 
in  a  given  time,  into  unison.  In  this  way,  says  Tyn- 
dall,  it  has  been  found  that  the  wings  of  a  gnat  flap, 
in  flying,  at  the  rate  of  1 5,cxx)  times  per  second.  The 
waves  of  a  man's  voice  in  conversation  are  from 
8  to  12  feet  long;  a'woman's,  from  2  to  4  feet  long. 


HUNTER'S  FAREWELL. 


Allegretto 


'-  b      I  K     ^       ^      I         I         I 


Mendelssohn, 
Arr.  by  Cakl  Matz. 

/ 


^Bk 


W=W 


1 .  For  -   est    fair,    what  might-y    hand  Hath     in  grand  -  eur  thee    ere  -  a  -    ted.   With  glad 

2.  Toils   the    bus    -     y  world  be  -  low,  Herds    a  -  bove      are  peace-ful   graz  -  ing.     Let     our 

3.  What  we    joy    -    ful  pledge  to  -  day     Let      us      ev    -    er  faith  -  ful   cher  -  ish,     Nev  -  er 


voice  and  heart    e  -    la  -  ted  Wdl      I    praise    him  who  thee  plann'd.      ]      .      .     heart    e  - 

horns  and     voi  -  ces    rais  -  ing  Make  all  hearts  with  joy    o'er  -  flow voi  -  ces 

shall      re  -  membrance  per-  ish  Till     our  last     song  dies     a  -   way membrance 


'  '  niann'rl   With  crlarl  vi-^Jr^  anr 


M^'^^^^^^^id^::^ 


W 


PP 


TZt 


^~m 


-]jr^ 


plann'd. With  glad  voice  and 

flow.  Let       our  horns  and 

way.  Nev  -  er    shall    re  - 


^  I  rJ         W-^^ 


P 


^^^^ 


la    -    ted  Will       I  praise  him  who  thee  plann'd. 
rais  -  ing  Make    all  hearts  with  joy   o'er -flow, 
per  -  ish   Till      our  last   song  dies    a  -   way. 


Fare    thee 


m 


liaE 


•f-.^: 


m 


Fare    thee 


well. 

Fare  thee 
weU, 


^iJfcl* 


t=t 


Fare     thee       well. 


It^^-g-^^J: 


m 


I.  2.  Fare 
3.  God 


i 


thee  well, 

pro       -      tect 


thou 
thee, 


for 
for 


est 

est 


^Ei 


-r    I      I       I 


^ 


well. 


I.  2.  Fare   thee       well, 
3.  God     pro  -    tect 


thou 
thee. 


for 
for 


est 

est 


S 


^ 


5fe 


£i=£: 


i 


3i: 


Fare      thee        well. 


/ 


2.  Fare        thee  well,  thou  for 

3.  God  pro       -        tect  thee,         for 


est 

est 


M^^^^^$^^^i 


fair.       I . 
fair. 


2.  Fare  thee      well,       Fare  thee 

3.  Fare  thee      well,      God    j)ro 


well 


P 


SEE 


m 


-^ 


thou         for 
thee.        for 

A 


est 
est 


fair, 
fair. 


^ 


^    f^ 


f 


172 


FRANKLIN-SQUARE   SONG    COLLECTION. 


Art  of  Singing. — It  must  have  struck  every  intel- 
ligent frequenter  of  the  concert-rooms  to  what  hopeless 
straits  an  enthusiastic  admirer  of  any  particular  singer 
is  put  when  asked  to  give  his  reasons  for  appreciating 
the  merits  of  his  favorite.  The  answer,  if  one  is  given, 
is  often  couched  in  vague  generalities,  and  in  some 
cases  may  be  said  to  amount  to  literally  nothing  at  all. 
The  artist  has  a  good  voice,  one  is  told,  a  clear  enun- 
ciation, has  done  some  things  very  well  or,  it  may  be,  his 
appearance  and  deportment  are  pleasing.    Why  should 


this  incapacity  to  give  a  reason  for  liking  a  thing  exist?' 
The  ex])lanation  is  clear  enough  to  those  \\'\\o  have 
turned  their  attention  to  the  phenomenon,  and  lies  in  the 
fact,  that  an  audience  taken  collectively  knows  little  or 
nothing  of  the  art  of  singing,  and  even  were  the 
very  party  who  is  the  object  of  applause  interrogated 
as  to  the  cause  of  his  or  her  success,  in  but  few  cases 
probably  would  a  satisfactory  explanation  be  forth- 
coming, for  although  he  or  she  may  have  received 
such  education  in  the  art  as  is  usually  afforded,  that 


LOVE'S  YOUNG  DREAM. 


fe: 


^ 


Thomas  Moore. 


EBI 


:*[==^ 


Andantino.  ^ 

1 .  Oh !    the   days      are    gone,  when  beau  -   ty    bright 

2.  Tho'  the  bard       to      pur    -  er     flama     may   soar, 

3.  Oh!   that   hal  -  lowed  form     is      ne'er    for  -  got, 

h  ^     I 


T--^-^ 


1^ 


My  heart's  chain     wove;  When    my 
When  wild  youth's  past ;     Tho'      he 
Which  love  first    traced;  Still        it 


m^ 


:«K 


-^ 


:i(=it 


i: 


^ 


^ 


^ 


P^ 


^  -^-    -^     -w-  -^ 


■m-- — m — m — «- 


dream  of  life,  from  morn  till  night,  Was  love,  still 
win  the  wise,  who  frowned  before.  To  smile  at 
linger  -ing  haunts  the  green -est  spot  On  mem  -  'ry's 


^ 


love ;  New 
last;  He'll 
waste!  'Twas 


hope  may  blocr.i.and 
nev  -  er   meet     a 
o      dor  fled      as 


g 


E 


sez 


A 


k^k 


K^ 


z^ 


^ 


TT^-r 


■m »  '    >-._^ — • — *  r— 0, — 0^ — #1  r- 


'Sr^ 


days  may  come  Of  mild  -  er,  calm- er  beam.  But  there's  nothing  half  so  sweet  in  life  As 
joy  so  sweet  In  all  his  noon  of  fame.  As  when  first  he  sung  to  wo -man's  ear  His 
soon     as  shed;   'Twas  morning's  winged  dream! 'Twas  a  light  that  ne'er  can  shine   a -gain  On 


love's  young  dream,  Oh,  there's  nothing  half    so  sweet    in    life     As  love's 
soul   -  felt     flame.    And,   at   ev   -  'ry   close,  she  blushed  to  hear  The  once  • 
life's      dull  stream !  Oh,  'twas  light  that  ne'er  can  shine   a  -  gain  On  life's 


A. 


m: 


#= 


J»-Jt_ 


^ 


s!S 


young 
loved 
dull 

J  ^ 


dream, 
name, 
stream. 


¥ 


r=m-- 


^ 


I 


JIJ     if=^ 


education  does  not  take  into  account  the  fact  that  ex- 
planation may  sometimes  be  required.  There  exists, 
indeed,  no  complete  and  intelligent  system  of  vocal 
training.  Pupils  are  not  required  to  reason  ;  suffice  it  if, 
after  years  of  toil,  by  hook  or  by  crook,  rightly  or  wrong- 
ly, they  acquire  the  power  to  produce  certain  effects. 
It  may  be  pointed  out  as  an  extraordinary  fact  that, 
while  singing  is  the  most  widely  diffused  of  all  arts,  no 
art  is  more  in  its  infancy  with  regard  to  the  principles 
on  which  it  is  taught.     We  off"er  no  explanation  of  the 


anomaly.  A  fine  voice  will  go  far  with  an  uncritical 
audience,  and  there  are  many  singers  who  set  a  higher 
value  on  the  apparent  satisfaction  of  others  than  on  the 
absolute  consciousness  of  having  satisfied  themselves. 
The  interlude  in  the  music  is  an  echo,  or  a  prophecy, 
or  both  combined.  If  it  be  an  echo,  it  attempts  to 
render  in  pure  musical  sound  the  dominant  thought  of 
the  stanza  that  went  before.  If  it  be  a  prophecy,  it 
sees  what  is  coming  and  prepares  the  way  for  it,  and 
brings  the  devotional  congregation  to  the  next  stanza.. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


173 


The  Voice. — In  the  human  system  the  parts  con- 
cerned in  the  production  of  speech  and  music  are 
three — the  wind-pipe,  the  larj'nx,  and  the  glottis.  The 
windpipe  is  a  tube  which  terminates  in  the  lungs, 
through  which  the  air  passes  to  and  from  these  organs. 
The  larynx,  which  is  essentially  the  organ  of  speech, 
is  an  enlargement  of  the  upper  part  of  the  wind-pipe. 
The  larynx  terminates  in  two  lateral  membranes 
which  approach  near  to  each  other,  having  a  little 
narrow  opening  between  them  called  the  glottis.     The 


edges  of  these  membranes  form  what  are  called  the 
vocal  chords.  To  produce  voice  the  air  expired  from 
the  lungs  passes  through  the  wind-pipe  and  out  at  the 
larynx  through  this  opening  between  the  membranes, 
the  glottis;  the  vibration  of  the  edges  of  these  mem- 
branes, caused  by  the  passage  of  air,  produces  sound. 
The  organs  of  the  voice  produce  sound  cm  the  same 
principles  as  a  reed-instrument.  By  the  action  of  deli- 
cate muscles  we  can  vary  the  tension  of  these  mem- 
branes, and  make  the  opening  between  them  large  or 


i 


^ 


SEA-BIRD'S  SONG.  ^ 


1.  Soaring  in  glee  where  the  wa  -  ters    rave,  And  the  wild  winds  wail  and         sigh; 

2.  Rev-el  -  ing  o'er  the       bil    -   lows   vast,  With     hearts  that     nev  -  er  fail; 


Bounding    a  -  far     o'er  the    crest -ed 
Reefed  sails  may  rend  be     -     neath  the 


wave  That       rolls   to  the  stor  -  my 
blast.  And  the  har  -  dy        crew  turj_ 

^       ^ ,-m m . ^l  ^ 


r 

Swift  as   the  flash    of 
Fear -less  of  dan  -  eer 


sun 
on 


light  beam, 
we     roam. 


On     with   a    wild  -  ly 
O   -   ver  our  bound-less 


joyous  scream, 
o-cean  home, 


^ 


^=t 


i«=^=* 


=S3l=it5=» 


^^TTSir^ 


i 


f- 


Thun  -  der  may  roar,  and    light  -  ning    gleam, 
Beat  -  ing  with  joy    the     surg  -  ing      foam, 


Free    as   the  winds  we  fly. 

Brav  -  ing  the  roar  -  ing  __    gale. 


m- 


^-^•-r.-p-  -r 


-fa^-^- 


£g 


J;:^. 


-F x^—'m 


II 


^^ 


small,  and  thus  render  the  tone  of  the  voice  grave  or 
acute.  The  sound,  as  it  passes  through  the  mouth,  is 
greatly  modified  by  the  tongue,  teeth,  lips,  roof  of 
mouth  and  nasal  passages.  The  loudness  of  the  voice 
depends  mainly  upon  the  force  with  which  the  air  is 
expelled  from  the  lungs.  The  force  which  a  healthy 
chest  can  exert  in  blowing  is  about  one  pound  per 
square  inch  of  its  surface ;  that  is  to  say,  the  chest  can 
condense  its  contained  air  with  ihat  force,  and  can 


blow  through  a  tube,  the  mouth  of  which  is  ten  feet 
under  the  surface  of  water.  Coughing,  sneezing, 
laugliing,  crying,  each  in  itself  a  marvel  of  wonder,  are 
due  to  the  sudden  expulsion  of  air  from  the  lungs. 
All  persons  cannot  hear  sound  alike.  In  different 
individuals  the  sensibility  of  the  auditory  nerve  varies 
greatly.  The  whole  range  of  human  hearing,  from 
the  lowest  note  of  the  organ  to  the  highest  known  cry 
of  insects,  as  of  the  cricket,  includes  about  nine  octaves. 


174 


FRANKLIN-SQUARE   SONG   COLLECTION. 


Some  of  the  older  and  more  familiar  hymns  which  we 
have  sung  from  our  infancy,  and  the  words  of  which 
we  can  repeat  from  beginning  to  end,  yet  without  re- 
membering ever  to  have  committed  them  to  memory, 
associate  themselves  so  naturally  with  the  inspired 
writings  that  it  is  almost  with  difficulty  we  can  at  all 
realize  that  these  lines  of  living  truth  and  of  helpful 
love  were  actually  written  by  mortals  like  ourselves, — 
poor  erring  mortals !  many  of  them — in  comparatively 
recent  years.  The  hymn-writers  of  the  last  two  cen- 
turies, those  who  have  had  the  true  gift  from  above,  and 


who  have  used  it  with  the  right  motive,  have  done  more 
to  aid  and  to  elevate  their  fellow  beings  than  they  ever 
dreamed  of  doing,  and  are  really  only  second  to  those 
who  wrote  under  direct  inspiration.  In  fact,  however, 
who  will  venture  to  say  that  our  hymnists  have  not 
been  as  directly  and  as  truly  inspired  as  were  the 
evangelists  themselves  ?  Although,  at  first  thought,  it- 
does  require  an  effort  of  the  mind,  to  realize  that  these 
hymns  are  the  work  of  modern  writers,  it  is  very 
pleasant,  and  always  a  matter  of  interest,  to  know 
the  incidents  and  circumstances  of  their  composition.. 


THE   RED,  RED   ROSE. 


Robert  Burns. 


1.  Oh,  my  love    is   like  the     red,red  rose.  That's  new- ly  sprung  in  June,  Oh,  my  love  is  like  the 

2.  Till  a'    the  seas  gang  dry,my  dear.  And  the  rocks  melt  wi' the  sun,  And      I  will  love  thee 


mel    -    o  -  dy      That's    sweet  -  ly  played   in      tune,     As      fair  art  thou,  my    bonnie  lass,  .So 
still,      my  dear,  W  hile  the  sands  of    life  shall    run,      But   fare-thee-weel,my  on  -  ly  love,  And 


deep  in  love  am      I,      And      I     will  love  thee  still,  my  dear,  Till   a'     the  seas  gang  dry.  Till 
fare-thee-weel  a  -  while ;  And      I     will  come  again,  my  love,  Tho'  'twere  ten  thousand  miles,  And 


a'      the  seas  gang   dry,  my  dear,  Till     a'        the  seas   gang   dry.      And       I     will  love  thee 
I       will  come   a  -  gain,  my  love,  Tho'  'twere  ten   thousand  miles.    And       I     will  come  a  - 


^ — ^    ]^     \^ 


2  nd  verse. 


iroi^-r^^lgRi-ji^z^ 


still,      my    dear,    Till      a'         the     seas    gang    dry. 

gain,     my    love,    Tho' 'twere    ten    thou      -    sand  miles. 


FRANKLIN-SQUARE   SONG    COLLECTION. 


175 


The  absolute  necessity  of  colleges  of  music  was  early 
discovered  by  the  greatest  musical  peoples  of  the  world, 
the  Germans  and  Italians ;  and  among  the  former  es- 
pecially we  find  to-day  the  most  flourishing  and  extensive 
institutions  of  amusical  educational  characterto  be  found 
in  Europe.  Mendelssohn,  the  foundei  of  the  Leipsic 
Conservatory,  in  reference  to  the  class  system  of  teach- 
ing, says:  "An  institution  such  as  the  conservatory  has 
this  advantage  over  the  private  instruction  of  the 
individual,  that,  by  the  participation  of  several  in  the 


same  lessons  at  the  same  time,  a  true  musical  feeling  {» 
awakened  and  kept  fresh  among  the  people ;  it  produces- 
industry  and  spurs  on  to  emulation;  it  is  a  preservative 
againstone-sidedness  of  education  and  taste,  a  tendency 
against  which  every  artist,  even  in  the  student  years^ 
should  be  upon  his  guard."  No  higher  musical  aur 
thority  seems  possible.  When  we  add  to  it  the  result  of 
that  class  system  which  every  year  brings  before  us  in. 
the  accomplished  graduates  from  those  famous  schools, 
it  seems  as  if  all  carping  criticism  should  be  hushed^ 


FROM   DAYS  OF  OLD 

(AUF  WIEDERSEHN.) 

\-^A — ^  •    - 


Felix  Mendelssohn,  1839.. 


I-    It's     hppn  HfrrppH  frnm  /Iquc    r\f  r^A   TViof  (rr^rr^  t\^^  A,^-^^t. i_»i.i-_ij    "ti       '  i     I 


1.  It's    been  decreed  from  days  of  old,  That,  from  the  dearest  man  doth  hold,  There's  part-ing. 

2.  To     you     is  sent    a    bud   to-day,  You  put  it    in      a    glass    a-waySe-   cure     -     ly.' 

3.  And  doth    He  give  a    love  on  earth.  That  thou  dost  prize  as  truly  worth  Thy  keep   -    ing 


^^m^^^^ 


Organ, 


i^^ 


Although  there's  naught  in  life's  ca-reer  That  falls  so  sad  -  ly  on  the  ear.  As 
Next  morn  there  blooms  a  lovely  rose,  But  fades  be  -  fore  the  day  doth  close.  So 
It     will   but     lit  -  tie   time    be  thine;  When  gone, o'er  loss  thou'lt    sad   -  ly  pine.  With 


so  well      be-lieve^ 


176 


FRANKLIN-SQUARE   SONG    COLLECTION. 


BAY  OF  DUBLIN. 


Lady  Dufferin. 


^ 


^^^s 


*=» 


Sentpre  ad  lib.  con  expressione. 

1.  Oh!    Bay        of  Dub  -  lin!  my  heart  you're  troub - lin' 

2.  Sweet  Wick  -  low  moun-tains!  the  sun  -  light  sleep -ing 

3.  How    of    -    ten  when  at  work,     I'm     sit  -  tin', 


Your  beau  -  ty 
On   your    green 
And  mus  -  in' 


^^^^^^^^^^E^i=^^^ 


bub-blin', 
peep 
knit  - 


My  heart's  blood  warms  when  I        but  hear     your  name ; 
in'.  And  puz  -  zlin'    me      to       say      which  is       most   fair; 

tin'    And  the  chil  -  der    play  -  in'      round  the     cab  -   in     door; 


R_qg  g-*zz=gFS=y 


^t* 


i^S 


And  nev  -  er 
As   tho'  you'd 
I    think     I 


V     \/     V 


£^ 


b-^ 


^^^^^^M=^iJ^^h 


till 

see 
see 


this  life  -  pulse  ceas  -  es, 
your  own  sweet  fa  -  ces 
the   neigh-  bors'    fa  -  ces. 


-^ 


My  ear  -  liest,  lat  -  est  thought  will  fease  to 
Re  -  fleet  -  ed  in  that  smooth  and  sil  -  ver 
All   gath  -  er'd  round,  their  long  -  lost     friend  to 


±L 


t 


ffi 


^^15^ 


1 


i 


W 


r:^ 


i^P^ 


be, 
sea, 

see ! 


There's    no     -      one      here  knows     how     fair        that 

My       bles     -     sin'       on  those  love    -    ly 

Tho'      no  one     "here  knows     how     fair        that 


^ 


i 


^m 


:f=f^ 


i 


^A  i  ^  >j^ 


place      is.  And  no  one     cares       how 

pla    -     ces,  Tho'  no  one      cares       how 

place      is,  Heav'n  knows  how     dear         my 


^ 


^E 


^^. 


dear     it 
dear      they 
poor     home 


are 
was 


to  me. 
to  me. 
to    me. 


:e=* 


3^ 


M^: 


^=52: 


Vm.  H.  Kejser  ft  Co..  Hoslo  Typographers,  9?1  Arch  St.,  Phila. 


# 


il"  i". 


